“…The painting of Marcos Duprat defines its own way laboriously owing nothing to the opportunism of both fashion and the art market. Also it does not address the conceptual questions or the definition and role of art. The influences that come from the past – especially those of Italian post-impressionism – are not related to the academic connotations of post-modern classicism. Those influences are, in fact, used fully as authentic tools for an intensive personal quest. The critics are right to point out light as the leading element of this plastic universe. I would add that light is the very substance of Duprat’s pictorial space. All the magic of these paintings is the possibility of entering illusory spaces which unfold beyond the surface of the canvas. In his series of works “Passages,” the mystery of space is free from any prosaic detail. It is not the homogenous and centralized space of classic painting, but, as the title suggests, the experience of a passage to a region of indefinite borders. One space leads to the other, and then that one to another….The open doors show as much as they hide. They almost stand as a symbol of vision, or of desire, always oblique and fragmented…”
“… In 1990, Duprat organized the elements of his art in a geometrical framework that can be interpreted as a summary of his constructive creative goal. The following elements coexist in this game, which can be read both horizontally or vertically: interior, figure, still life, light, space, time, myth, reality and mystery […] The structure of crystalline clarity of their spaces – sometimes it’s just the space itself the subject of the painting – suggests that constructivism classical influence was prevalent in his work. Its leitmotiv is lyrical meditation, silence […] but the tranquility of meditation / reflection is broken by an external emotion and irresistible. The Art of Marcos Duprat questions the past, present and future in the exciting boundary between reality and mystery. “
“…Marcos Duprat is venturing into questive painting. HIs canvases are static but without rigidity. Frequently the artist strives to explore the themem of reflexion, from various anges. It’s as if he wished to exceed the limits of image…”
” … In painting Marcos Duprat representative elements serve to encrypt – and decipher – the elements unrepresentative elements visible to guess the invisible, sexy to discover the spiritual . The language that invents has only three elements : an organic, an abstract and a third translucent . The first is the human body , the second is the building in which man dwells , is the last light . The scenario where you put these elements is the air , sea , space . The light – transparent element – integrates and involves all the others. A work with these connotations seem to match , within a naming superficial gender impressionist . But in Impressionism these elements – body, landscape, light – are closed , concrete , recognizable and, above all , become exhausted in their own appearances . In the painting of Mark Duprat , on the other hand , the sea is ideal , the geometrical construction is almost abstract , man is impersonal face undefined. Unreality and sensuality deliberate and contradictory this painting converge and solve the suggestion of an image metaphysics. The pure human being , naked , contemplates the world . Quiet and silent, in his loneliness , the man stops opposite the stunning setting property , immersed in thought , brooding … “
“…In Marcos Duprat’s painting, the representational elements are meant to encode – and decode – the non representational elements, the visible to the guess the invisible, the sensual to discover the spiritual. The language it invents has only three signs: one organic, one abstract and the last is translucent. The first is the human body, the second is the the construction where inhabits man, the last one is light. The setting for theses signs can be air, sea, space. Light – the translucent sign – integrates and wraps all the others. A work with these connotations could be superficially described as impressionistic. But in impressionism these elements – body, landscape, light – are sealed, concrete, recognizable and above all, do not transcend their appearance. In Duprat’s work, on the other hand, the sea is ideal; the geometric construction is abstract; man is impersonal, and his face is indefinite. The unreality and sensuality of these paintings, both deliberate and contradictory, are combined to suggest a metaphysical image. Man, the nude, watches the world. Still and in silence, in his solitude, he is caught by a stunning scenery, lost in his own thoughts…”
“… Duprat’s work addresses the significant importance of light in the plastic representation. And she says this, transforming the scenes of frames through the mirrors, reflections, transparencies and his image incorporeal. Each of these agents has unlimited strength and actors suffer the interdependence of sight of the viewer.
In the first instance, the scenes, ie paintings, made up of shapes, volumes and colors that structure the space of plastic compositions. Secondly, light manufacturing, created by artist, occupies the screen space with great energy, leading us to assess how willful and invasive it is to penetrate in the pictorial. Sure it occupies the scenes with the purpose unusual dismantle and deconstruct the existing composition. Lock up a game between the optical body of the scenes and incorporeal light … “