Gallery Marchi

 

On May 10th 2015, I broke my back and severely injured both wrists in a boating accident.

 

On May 13th, at 11:11 p.m. I woke up from a vivid dream; bright colors, 2 hands dragging paint, colliding colors.

 

The next morning I had an uncontrollable urge to paint, something. I had never painted before in my life. I bought canvas, paint and a brush.

 

I started to paint, and have not stopped.

 

My biggest struggle was trying to understand how I went from extreme trauma and daily pain to a new life, re-wired and reborn with the gift to paint.

 

In less than 3 years, a recognized artist, selling art globally, gallery shows, over 200,000 social media followers, gratifying yet very confusing.

 

Then I read about Post Traumatic Growth (PTG) and the research of Dr. Richard Tedeschi of the Post Traumatic Growth Research Group.

 

Dr. Tedeschi and I spoke many times about PTG and what I could do to bring awareness of this amazing “other side” of PTSD.

 

Through his encouragement, my mission is to create a global PTG art gallery, providing a venue for “PTG trained” artists to show their work, inspire others with trauma or in the trauma community to bring awareness of PTG and raise money to fund further research.

 

I still dream my paintings every night however, the hands I see are now my own.

 

With every day, with every painting and with every one who has supported me on this journey, I am thankful every minute that I am part of the PTG world. I wouldn’t change a thing.

 

Please join me on my mission.

 

An Editorial Word

 

“Today, David creates "daring" acrylic abstracts that dance with passion and unpredictability. He paints beautiful, riotous gradients, and then creates large scale graphic designs on top. Often, elements clash – colors, patterns, or lines.

 

His brush-strokes are free form but his shapes are not; integrity of edge and form is always maintained. Marchi’s pieces are prime examples of energy harnessed.

 

Marchi paints with three guiding principles: color, texture, and pattern.

 

He finds the vibrations between great contrasts in all three, taking a single painting from smooth to streaked, squared to rounded, and shimmering crimson to deepest blue.

 

Each work is a jungle gym of visual frequencies, and yet Marchi is organized in his complexities – he never leaves a shade out or allows his composition to falter or wane. Once he decides on a graphic pattern, he sticks to it and fills out his canvas with satisfying thoroughness.