Gino Marotta (1935– 2012) was among the first artists to explore the expressive potential of methacrylate, creating artificial landscapes inhabited bytransparent, luminous forms evoking the animal and vegetal worlds. Moving to Rome at a young age, he experimented with lead, tin, aluminum, and Neo-Dada assemblages between painting and sculpture, transforming industrial materials into icons of an imaginary realm suspended between nature and artifice. With his artificial forests and caravans of imaginary animals, he created dreamlike environments that reveal both the allure and fragility of nature.

A key figure of Italy's neo-avant-garde in the 1960s and '70s, he reinterpreted natural motifs with a hypermodern aesthetic, developing a "dynamic synthesis" of figuration, visual language, and codes, culminating in his signature use of methacrylate to construct vibrant, synthetic landscapes. Internationally recognized, Marotta is celebrated for his pioneering integration of organic and synthetic forms in sculpture.

Marotta's works have been presented in major exhibitions. Among the most recent was his shows at the Galleria Nazionale d'Arte Moderna e Contemporanea, Rome (2012), and at Panorama, Pozzuoli (2025). Internationally, he exhibited at Pace Gallery, New York (1971); Philadelphia Museum of Art, Philadelphia (1971); Museum of Modern Art, New York (1972); Musée du Louvre, Paris (1969); Museu de Arte Moderna, São Paulo (1967). Subsequent exhibitions include Fondazione Pino Pascali, Polignano a Mare (2021); MACRO, Rome (2009); 11th Quadriennale d'Arte a t the Palazzo delle Esposizioni, Rome (1986).

He exhibited twice at the Venice Biennale-first with a solo presentation in 1984, and later representing Italy in 2011 with Cronotopo virtuale (Virtual Chronotope), an immersive environment of coloured light that continues to inspire the gallery's presentation.