LOT OF TWELVE PLATES.
The fact that this story presents plates of different sizes: from a maximum of 48 x 33 cm to a minimum of 27 x 30 cm.

Here Marco Corona completes and culminates his quest for what he likes to call "masonry in wood", which in this work, almost a thoughtful and studied segment of a long saga, finds the culmination of a long research on the figure of Pinocchio.
It is an undoubtedly Gothic Pinocchio, already present in the wooden stump from which he is carved, which, with the hollows of the wood and a dry, crooked branch like a syllable, already creates the gloomy mask of the puppet. The stump is essentially, as Corona explains, the marionette in synthesis, its figuration in the modernist style as an oubject trouvé: the carpenter, but of course the artist too, must "liberate the soul" inherent in it, like Michelangelo.
Marco Corona does this with a mark that recalls the xylographic mark, the wood engraving that gave rise to the art of Western printing: dry, dry, twisted and suffering. There is also a reference to the profession of his father, a carpenter like Geppetto.