The artworks of Mattia Perru delve deep into the viewer’s mind, triggering emotions and thoughts that skim the surface of the unconscious. Meanwhile, the artist seeks the path towards extreme synthesis.
Mattia, what is art for you?
I have always approached art casually, without making it a life project. I am a mechanical engineer and work in a manufacturing company; something quite distant from painting. However, I come from a family where there was still an interest in visual art, particularly from my father. Let’s say that, up until a year ago, painting was a relaxing activity for me in my spare time. For the past year, I’ve decided to do it consistently, and I would like it to become a more structured activity.
Your works are quite deep. Is there a lot of thought behind them?
Yes, almost always there is a pre-existing planning. Before starting to paint, I immagine the scenario I want to represent. Perhaps I don’t have the subject already clear, but at least I know the atmosphere I want to create. That’s where I start. Sometimes, if I can’t immediately get to work, I take notes. Generally, in my works, there are environments and figures that are quite recognizable, but I would like to gradually move towards greater abstraction. I don’t yet have the gift of extreme synthesis, so I can’t feel comfortable in an abstract context, but I aspire to that. When I try, I find myself ending up in mannerism, and I would like to avoid that. Synthesis is not simple because it is much easier to add than to remove.
In any case, your works are quite powerful. They remind me of the masterpieces of surrealism.
First of all, thank you. Indeed, I love Magritte a lot, and in general, I appreciate the intimacy of certain atmospheres. As I mentioned, in my artworks, there are recognizable figures because I enjoy the realism of detail, but I’m not interested in the realism of the situation, in the pure and simple reproduction of reality. I’m interested in the realistically detailed decontextualized. I like creating atmospheres that reconcile introspection. I tend, for example, towards dark tones, and it comes instinctively to me to create artworks with twilight and nighttime settings. Perhaps because those are the hours when there is more tranquility, when interferences diminish, and it’s easier to think.
What would you like people to feel when they stand in front of one of your works?
I would like them to experience a sense of familiarity and, at the same time, estrangement. I want them to see something that feels like they know but can’t fully understand, like when trying to recall a dream. I sometimes come across works where there isn’t a specific detail that strikes me, there isn’t a more or less interesting situation, but there is a sense of disorientation: it feels like recognizing something familiar that I have forgotten. I really like that feeling, and I would like people to experience it in front of my works. I want them to feel touched in the unconscious.
How do you find working with Cinquerosso Arte?
I like it because everything is managed in a very professional and well-crafted manner, including the presentations on the website. Unfortunately, I couldn’t attend the anniversary reunion because I was abroad, but I hope there will be other opportunities.
