Marco Tamburro was born in Perugia in 1974.
In 1994 he graduated in Architecture and Furniture of Art in his city.
The same year he moved to Milan where he met up with the creative community in Milan, attending  the Academia di Belle Arti di Brera and collaborating as an assistant to several photographers and set designers. The choice was not random. In fact, Marco Tamburro was already mature with a real interest in the wide spaces of the theatre, which take shape and light, through his creative imagination through means of pictorial panels.
Painting fascinates him. His great expressive power fulfills a vital role in being able to translate visual images in the middle of communication but also he's able to interact with other artistic forms such as the theater, photography, furniture,  architecture.  All are essential components in constructing scenes.
In Milan he had his first experience painting and exhibited his works in some galleries and alternative spaces in the city, especially related to fashion and design.
After Milan, Tamburro decided to move permanently to Rome, a city that is always attractive for its enviable artistic beauty and the underground life.
In Rome, he found his passion for theatre and to work with different theatre companies. He devoted himself full time to painting and in 1999 he graduated at the Accademia di Belle Arti di Roma.
In 1999 he founded a 'cultural association' that focuses exclusively in visual arts.
The real artistic Marco Tamburro was born in Rome, both as regards to achieving a complete mastery of painting, and for the recognition and appreciation received. Within a few years of 'jetset' in the Roman Art Scene he has been approached by major critics and gallery owners and  has participated collectively in galleries with other young emerging artists..
The Roman cultural environment elevates those artists able to interpret everyday life: a life not lived, where the common man is allowed to be dragged in the vortex of its incessant and frenetic pace, losing sight of the flow too quickly, without being able to seize the little things that surrounding the life that he's going through.
This explains the marginal role that the human figure has in his painting.  He is a simple presence, a shadow, a specter that time consumed by incessantly pursuing the endless trajectory of the city, crossing long pedestrian crossings and climbing up the top of dizzying and monumental skyscrapers.
The man is inevitably crushed and alienated from this magma which is today's metropolis, a symbol of its strength and hostile aggression.
Over time Tamburro has progressively reduced the photographic clippings in his paintings found on a campiture of black and white and sometimes interrupted by squarci switched to red, to better express the transfiguration of the "theater of life" that he wants to represent.
This theater in the paintings of Marco Tamburro becomes  symbolically represented by sad puppets that are manipulated by a device of infinite wires, which renders them impotent.
The applause and reception from collectors and the art market has made it plain that galleries and public institutions are becoming increasingly interested in his work culminating in major exhibitions and publications in some of the most important Italian art magazines.
Writers, art critics and exponents of the art world as Renato Civello, Vito Riviello, Gabriele Simongini, Enzo Santese, Maurizio Sciaccaluga, Barbara Martusciello, Ennio Calabria, Antonio Tamburro and others, have defined the work of Mark Tamburro as personal and effective in representing cynical punctuality with the cancellation of all that substantiates the contemporary age.