The arrival at abstract – which is actually a passage – is a stage in his endless journey towards the spirit of colour – shows an association with that School of Como, which in the first decades of the early 20th century created its own language by abstract shapes.
In terms of shape, this sense of certainty becomes concrete in the rhythmical distribution of asymmetrical geometries.
However, the hard and sharp-cornered edges, in Zambrelli disappear thanks to the use of the pastel which makes the shapes soft and produces a kind of lighting which gives us back the deep feeling of colour, almost as it were a prayer.

Luna Protasoni

Square root (2017) – Soft wax aquatint on four slabs – 360 by 1000 mm. (14,17 x 39,37 inches) Sheet – 300 by 800 mm. (11,81 x 31,50 inches) Slab
Aziocroma 165 (2015), detail – Pastel – 50 by 70 cm. (19,69 x 27,56 inches).

Strong and keen experimenter, Zambrelli also approached abstract art, and in order to do that, he learns the lesson from the great masters of the Italian abstract genre: Mario Radice, Atanasio Soldati, Manlio Rho and from them he takes, at the very beginning, the geometrical elements bound to colour.
Later on, in his abstract works, lines become spontaneous, they follow his instinct, are free and his chromatic combinations create a unique compositional harmony.
In Zambrelli, abstract does not derive from the dissolution of the shapes but it is a pure artistic experience in which colour has no link with the narration itself, for the reason that it becomes tale itself as it is equipped with great communication skills.

Lara Scandroglio

Square (2017) – Soft wax aquatint on four slabs – 500 by 1070 mm. (19,69 x 42,13 inches) Sheet – 400 by 960 mm. (15,75 x 37,80 inches) Slab
Aziocroma 142 (2015) – Pastel – 50 by 70 cm. (19,69 x 27,56 inches)

And what about You, Marco? Where are You really?
Where shall we search for You?

You may be in the spark which shines in the iris of your teen ager’s eye,
or on the leaf hung on the light blue wall of your youth;
perhaps among the spread petals of the Plumbago on the sea windowsill
or among the wings of these last fragile abstract wings.

You may be in The Colour having its dance in the impermanence of all things,
waiting for a new opening door to your next change

Luisa de Bernardi