Matteo Pomati was sitting right next to me at the after-show dinner in occasion of Tufo at Gasconade’s non profit space in Milan. I immediately became even more curious about this figure, to my eyes he appeared just as his works: intangible, ethereal, someone to look longer at to get the essence.
With his atemporal work he anesthetizes the eye and makes the spectator wanting to see it again to bear it in mind. Painting is everything. Crushing into the new media in an exclusive post-academic way.
My imagination went on after he talked to me about his research and showed me two new works.
Apathy-for-the-bon goût drama. The reflections are disturbing, making me feel the same as when I was reading an article about “pornographic” photos of objects with people’s naked reflections on the objects’ shiny surfaces.
Colors are blind. The gaze is fatigued, and it is like spending evenings’ hours on the sofa in front of a TV; brain death, scrolling down your Facebook pages with the visage enlighten by the screen. But there is so much beauty to explore.
Reality’s still life, wanting to stop it now and ever in a lust for image.
The result is noir, the 16:9 format brings back to movies’ vision, I thought about Jean Luc Godard’s Alphaville and some screenshot of moments coming from Natacha von Braun’s mind. And here you go back to reflections, not even having had the time to think that they are fake, like the ones in some Anime drawing.
While walking outside armada – the studio Matteo shares with some artists and curators of his generation – I could read “adagio” road sign in the courtyard, a perfect italian word used in music jargon, as he suggested to me; and the perfect conclusion for that dialog.
His works are “so evident, to disappear”.
Matteo Pomati was born in Milan, 1989. Lives and works in Milan.