Marco Bacoli was born in 1990 in Pesaro Urbino where he lives and works.
He began his studies in the Animation Cinema department of the State Art Institute of Urbino. He graduated in 2009.

That same year he enrolled at the Fine Arts Academy of Urbino, in the Painting department.

In 2014 he took a degree and he continued his studies in the advanced program of specialization in Painting of the same Accademy. He took a advanced degree in 2016.



At the beginning of my studies I experimented with various painting techniques, starting from oil painting until I reached the collage and charcoal focusing on the theme of memory which naturally led me to discover another difficult issue, that of the identity. I have used the archival photographs to create a personal library for painting. 
In subsequent years of research I tried to find the right development languages of my work using, among other things, collage or photography as a means of conjunction pictorial of reality. In my recent work which I consider the most mature and complete, I went back to painting because it was needed, while maintaining the same aesthetic common thread and the same formal solution of the first works. Personal photographic studies are now added to my instruments and they require the creation of real “theatrical scenes”. 
At the moment my research is focused on the theme of body language and everything related to the non-verbal communication and in particular the proxemics. Proxemics is the discipline that studies the gestures, the kind of behavior and the space inside a communication. The space is measured in terms of physical distance and therefore the proxemics is identified in four interpersonal areas: intimate area, personal area, social area, public area. I start from the analysis of these four distances, putting into focus as natural elements of life and of human behavior. They are not universal but they change, even if only slightly, from references traditional and cultural of every person. 
This analysis culminates in a figurative imagery and produces a scene that at the same time is blurred, unclear and dominated by confusion. The differentiation of the four areas that rules human behavior is indistinguishable due to their overlapping. The image is usually based on an ordinary act which represents, on a subconscious level, the natural gesture of appropriation of a specific interpersonal area to face a particular situation. The naturalness of these gestures is thus carried at its peak right through their break-up. Using an expressive language and a painting that treat a time which is suspended, frozen and almost metaphysical, I create a figure in black and white who is performing, in her uncertainty, a gesture as daily and honest as mysterious and ambiguous. 
My study about non-verbal language also covers the analysis of gestures and behavior that feature individuals belonging to specific cultures and traditions. The cultural identity of the subjects often fills up the absence of the personal one, and when different cultures meet, even the understanding of the non-verbal language finds obstacles. 
Other interesting themes which fascinate me are the neuromuscular and cerebral pathologies treated in medical sciences, because they are organic dysfunctions of body language. Therefore I often find inspiration from studies and pictures from experiments and from researches of the past about some pathologies. 
All my work thus investigates the body and the imaginary that the unconscious builds around his gestures and his attitudes, a contemporary imagination that is a fact, true vision of reality.