ERICH STEINGRAEBER (Wien) 1998
Dear Morago, (… )The grammar and syntax of your paintings - and the Vienna exhibition focuses on mature work done over the last few years - are Venetian to an extraordinary degree.
Above all because colour is the essential element in your art. Your canvases delight the eye because you use the painted surface to communicate sensory beauty.
You express yourself in Venetian because you are against all theories and all rules.
You are interested only in the passionate sublimation of colour and the light it conveys.
The coloured light of external space presupposes an abstract practice of figurative means.
This was what the father of Orphsm, Robert Delaunay, meant when he denied descriptive elements the role of indicating "content" and gave colour priority over all other artistic media.
Since then colour has been available as a pure metaphor evoking just "states of mind" in the observer.
Paintings of this kind no longer work with the succinct stylistic means of evocation developed by cubism but communicate their effect only in response to meditative, empathetic observation.
As a reflection of a state of mind, each of your works is different from all the others; there is no ready-made system.(…)
LIONELLO PUPPI (Stuttgart) 2000
(…)Morago’s current artistic situation, a phase of truly prodigious activity, open to unpredictable but resplendent destinies while keeping firm faith with a choice that was carefully, agonizingly weiged yet nonetheless inevitabile, is rooted in a prehistory of initiation, which postulates the undaunted certainty of color as the pure, exclusive linguistic means of the assertion, in the absolute of form, of axpressive tension.
This involvesthe exclusion, in the process of construction of the image, not so much of the precalculated design of geometrical grids as of any recourse to graphic support to control and confine the effusion of colour fields, the composition of which is determined by the qualitative dialectic of the value that each of them comes to assume as the image acquires dynamism and altogether takes on the task of becoming a representation, visual, resolved and complete, of a mood.(…)
VIRGINIA BARADEL (London) 2007
For some time, influential critics have interpreted Morago's painting chiefly as a contemporary version of the long pre-eminence of colour in the history of Venetian art.
In truth the expressive force and chromatic energy that generate such impetuous abstract narratives in the Veneto painter's canvasses have roots in painting that marvels us with the lavish use of colour: in Morago's work both an expressive value and a constructive role find echoes in that tradition.
Nevertheless, he enjoys a bubbling independence that has nothing to do with the critical conscience that every true artist of our times develops around his own work.
It is as if the river of colours, flowing from that long and rich tributary of history, descends to the present ever more in the form of a Maelström in which the colours meet head on and are stirred up.
Morago's painting has kept up the impetus of this current's undertow but seems to have barred its course, to transform its conclusion into a new beginning, in a Genesis of pulsing fields of colour that split off from archetypal blacks and reds so as to silence the clash in the mysterious opacity of white.(…)
SILVIA PEGORARO (Aichi - Tokyo) 2005
(…) His work goes beyond the experimental inventions of action, gesture, to embrace a living tension between matter, color and light – everything here is enigma, shadow, boundless life, exaltation and contemplation.
Morago’s art transfigures the perception of reality through the strength of his imagination, shaped by color and light as ab-solute values, free from any kind of contingency or reference, and yet, at the same time, exquisitely sensual. Formal expression comes to be one and the same with the warm vibrations of color-matter, which imbues and shapes surfaces, giving them an aura of mysterious sacredness.
Yet imagination does not dissolve into a vague, confused mystic yearning – on the contrary, it retains a strong cognitive basis.
Therefore, we can relate Morago’s imagination to sort of ‘analogue’ knowledge that allows us to escape the restrictions of rationalism.
This immediately evokes the esoteric, neo-platonic tradition, that of Giordano Bruno, above all his De umbris idearum (the shadow of ideas).
A universe joins another universe, a light joins another light: painting is an abyss, and light is a still vortex.
Light is the center, but also the threshold, the ultimate boundary of forms.(…)
CLAUDIO CERRITELLI (Milan) 2009
…The vision that Morago pursues is a continual penetration of the hidden genesis of shapes, where otherness and identity of the visible are present at the same time, that is, spaces that look elsewhere, but ones that are always bound up to the unending arena of colour. (…) Morago’s painting is based on frontal impact, on the overlapping of planes where you can hear the straining of colour and the sudden noise that shatters the preestablished balance. The thuds of pure matter are answered by jets of another colour; from the disintegration of the form new impulses are hidden that reconsider the image as a trace of further plunges, from the rubbing together of matter, prints emerge on which the gaze can rebuild the lost image or be directed towards a different fantasy.(…) The dominant image shows the intrigue of forms that the artist allows to well up within himself; their impact is in the compression of all the instances of painting into one single image, the complexity of all gestures that have taken place over time.
VALERIO DEHÒ (Bologna) 1999
(...) Morago is therefore certainly a Venetian artist. This means that his artistic tradition goes well beyond the narrow context of the definition of art autre. This is all the more noticeable in his other work, in which the mass of colours seem to always be about to transmigrate along the surface of the picture. These virtual movements have their origin in the contrasting temperature of the colours that creates imbalances of varying intensity. Tension increases or falls in the various points of the painting and the gaze is diverted from the ductus of energy that has the dual function of attracting the attention and moving it along the folds of the surface of the painting. This force of attraction is almost solely entrusted to the colour which originally dominated the form. Later, from the middle of the nineties, the colourfield became a surface and an increasingly defined area. In practice, the surface is broken up into other surfaces that are in constant tension. These variable geometries are naturally entrusted to wide areas of colour that contrast with one another.
But the contrast between the red and the black involves the white. At first, this is an interconnecting area, almost neutral and preparatory, but which then gradually becomes the focal point of the work in which emotion is partially dissolved in a colour of synthesis and reflection.

According to alchemy, the albedo (from Latin 'albus' or 'white') is also the moment in which matter sets itself free from its heavy, earthly coat. Matter becomes imbued with the quintessential liberty of an ultrasensitive goal that has been achieved. The three colours of the preparation pursue one another. The incandescence of the red follows the phase of the nigredo (from Latin 'niger' or 'black'), i.e. the moment in which mass precipitates into its obtuse essentiality. Heating revives it and starts to purify it of the base waste: the truth of albedo is announced. (...)
ANN CRIMP (Bruxelles) 2008
Abstraction is for Morago a kind of declaration of independence with the language shows its own skill to signal something thanks to such natural reasons explaining existence… The way in which the artist realizes his rough mixing of strokes of the brush and the pastes, that leaves the painting in a form of completed opening that exempts it from the formal role of ambassador of assolute vanities to push it, instead, to a limit where the image is completed at the border of a dark abyss.
It is that limit in which language, swings between the option to transform itself in a monster of incomprehensibility or to illuminate the world with a new light. At this magic point the language seems to speak no more, closed in the mutism of that which has reached perfect visibility; because the existence of a “sonorous” voice proves that things do not appear to us yet in such a clear and luminous way as not to need further discourse. Painting, the material production of images and light, means the will to reach such sublime silence: the state of grace of thought.
ROBERT KELLER (Berlin) 2004
Meantime the fugitive fragment is still being interviewedby the angel, vaguely appearing for a moment. The angel ‘s essence announces nothing but the unseizable distance of image, the melancholy for one’s own forgetfulness. A weakened echo, mild and pure, still remains. An echo similar to the ultimate sound suspendend and vanishing, to the loss of the endeless mourn of Adrian Leverkun.
And the rest is only silence.
MARK L. MONROE (New York) 2011
In Morago, the work is a glance, an epiphanic event. It is manifested in one revealing moment. It is the dark side we aren’t able to experience at this moment, but just a little earlier or later, while waiting and remembering. The moment, what Plato called this “odd thing”, is outside any temporal pattern, it is merely passing from movement to stillness, from stillness to movement. As Eliot writes, it appears “ridiculous the waste sad time / stretching before and after”. The rest is committed to dissipation, to despair of no return. Listen to Pound again: “ What thou lovest well remains, the rest is dross”. The rest is bound to endless oblivion , to the dusty topics of human kind, far from the centre and the secrets the centre keeps.