After finishing her artistic studies, Lucia Marcucci devoted herself above all to painting and sculpture. In 1955, she moved from Florence to Livorno, where she became extremely active in avant-garde theater. Consequently, she combined her particular preference for poetry and literature and developed it into a form of collage using words and images. Since 1963, she has devoted herself to visual poetry, leading to her still unpublished, first technological poem, entitled L’indiscrezione è forte (Indiscretion is strong). Her frequent trips to Florence put her in contact with Eugenio Miccini and Lamberto Pignotti, founders of Gruppo 70. In 1965, she decided to leave Livorno and return to Florence, where the cultural environment was especially lively and active. From that moment on, her real contacts with the artistic environment were not only Florentine, but also Italian. With her first participation in the visual-poetry exhibition organized by Gruppo 63 at the Galleria Guidi in Naples, she became a full-fledged member of that group of poets, musicians, and painters (e.g., Antonio Bueno, Giuseppe Chiari, Eugenio Miccini, and Lamberto Pignotti) that were Gruppo 70. The artist was immediately attracted by the word-image side of technological poetry, concentrating her interest particularly on the languages of mass communication. Her research developed in the direction of cinepoesia (film poetry) and non-linear film-editing techniques. From this idea, Marcucci, Bueno, Miccini, and Pignotti formed a group called fittingly Cinepoesia. Marcucci herself illustrated in the essay entitled La cinepoesia e le tecniche del montaggio non-lineari (Cinepoesia and Non-linear Editing Techniques). In addition to cinepoesia, her artistic curriculum also includes her great visual poetry experiment using collages, the result of an uninhibited, irreverent, and ironic juxtaposition of images and words stolen from mass media and decontextualized from their traditional meanings. Her favorite subjects have concerned women and the female condition as well as politics and the most tragic events of contemporary history. Since 1972, when her experience with Gruppo 70 (which began to break up in 1968) came to an end, Lucia Marcucci became part of the International Group of Visual Poetry, which also included Miccini and Ori. In this period, Marcucci's research expanded to a more individual, independent kind of experience. She created the Impronte (Imprints) series, in which the artist worked more directly inside a piece using freehand writings and impressions of parts of her body (for example, her hands), everything united in a collage of fragments stolen from magazines and newspapers.
(Poet’s Word) In the 1990s, Lucia Marcucci’s work followed a more independent, personal investigation through the experience of visual poetry that characterized Gruppo 70’s period of militancy, beginning in 1963. In her 1991 work Parola di Poeta, the artist eliminated from the composition any vestiges of collage (which, since the late 1970s, had been combined with freehand written phrases and impressions of body parts), to rely completely on pure color. The childish line Marcucci used to mark out a rough sketch introduces the outline of an open book, set on a lectern and supported by the portion of a column with an Ionic capital decorated with scrolls. Relying on irony and metaphor, the artist has managed to superimpose two concepts of linear expressivity here. On the one hand is religion and the figure of God; on the other is poetry and the figure of the poet so as to recreate a new "non-linear" message that starts specifically from the juxtaposition of the two linear models.
mm 750x450