MATTEO MONTANI

Matteo Montani develops and exalts painting, he loads it with his energetic excesses, intimate, universals, big, microscopic. He makes it unique by conforming it to his own style code of a careful painter with cautious stroke rather expressionist in the soul when searching for depth on the pellicle surface, when he re-invents an impossible ultrasonography, he radiographs an excess and re-launches passages of the invisible through a criterion of a conceptual matrix that only an objective as imperfect as objective informality and abstract painting could re-create.

Montani’s artistic practice challenges the normal identity of things to re-propose their essence masked under layers of material, strained towards overcoming solitude, outweighing silences, the coincidences that go through men’s lives, the anxiety for mortality, the insatiable appetite for experiences to rise to another dimension. A dimension where it is not important being abstract or figurative, as the only need is in communication among muscles and nerves, in the strength of anomalous waives that from the canvas’s surface take back to its interior, to what is needed to say not to get involved with nostalgic signs of a half lit world.

Montani’s aniconic painting beautifies without tracing figures, establishing connections of images into a mysterious virtuosity, a mediation among monsters, hybrids, deities and semi deities. The young Roman artist pursues the transcendental, combines improbable hierarchies pulverizing the normal  identity of things in the sedimentation of oil layers on canvas, blue oil,  whiter, or with azure shades and sugar paper that  climb enormous cumulonimbus, however ethereally erect but never feeble or timid.