“Latin America is a possible Eden; it is up to us to materialize it as such.”

For several years, his exhibitions were an homage to Latin America; he utilized its habits, icons and landscapes, not from a folkloric point of view but trying to symbolize that Eden he mentioned.

Paraguayan art critic and marchand Ticio Escobar thought, in 1990: “Moretti is essentially a painter. He builds his images with shades and hues, with glazes and textures, with matter itself. His strong, marked line becomes itself a plastic component that hugs figures, sinking into their shapes, pushing masses of color this or that way. Fruit, landscapes, portraits, every subject is a mere excuse for a stern plastic architecture that raises over bursts of light and color.”

He was especially invited to the 8th Biennial Latin American of Art of Mexico, in 1992.

Critic Albino Dieguez Videla, said in 1993, about the exhibition shown at Palais de Glace, Buenos Aires: “"In every case, matter is a loyal ally for Moretti; he establishes aquatic or aerial spaces, later completed by the caressing definition of brushes. So landscapes get defined, born from a very rich and many-colored geography, that seems anxious to be painted. And Norberto Moretti, whose intuitive smartness stops him at the door of fauvism, has done it."

 

 
 

Las Obras expuestas son propiedad de Norberto Moretti Prohibida su reproducción total o parcial
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