Maurizio L'Altrella

city
Milan (Italy)
birth
1972

“I try to create a dialogue as lively as possible between background and subject, so that one depends absolutely on the other; so that they create and recreate each other. Even when a subject appears steady, its immutability is only apparent. Everything moves and changes every time.”

“I'm interested in relating the spiritual, intimate, forgotten nature that the human creature had with his fellow men and all other living beings in this or parallel dimensions; no matter their resemblance, the one they have, should have or could take. My work is essentially based on these pulses, which I translate through the images that I present. The metamorphosis is simply a metaphor of change, but it is so deep that even the appearance is influenced. Change is absolutely necessary to go beyond what you know. Regarding the posture of the subjects, I can only say that I am conditioned, almost obsessively, by the images of the paintings of the period ranging from the post-Reformation to the end of the seventeenth century. I have an unconscious need which drives my research (before even start painting) towards all of those subjects which are ostentatiously portrayed as sacred, just as it was used in certain historical periods. In some of my recent paintings, the use of gold as a color is a reference to the sacred painting; this represents a necessary citation for me. These strong references give physical expression to the attitude of my subjects: animals, humans, or anything they are.”

“My mother and my father have been my first teachers; then gradually, all other beings I have met in my life (have influenced me). In the end, I'm not what I read or what I have seen or heard, nor what I do, but there is in me a part of everything I have lived and I am still living; a part of me is in everything too (this is not rhetoric). Having said that, I love Jim Jarmusch, Peter Greenaway, Tim Burton, Kim Ki Duk, Jung, Goethe, J. Milton, to mention some and Dante Alighieri, obviously. There are so many good musicians, but I do not like any kind of music, especially the one that is too commercial, the so- called "light". Music is a very important element in my creative action. I don't want to do wrong to someone so I won't mention anybody, but I certainly prefer more experimentation, energy, surprise, invention and genius than the virtuosity for the sake of it. I like classic music as well as rock (and most of its branches and genres) and contemporary music. I have no idols or religion.”

(from the interview with Emanuele Beluffi)

work

And the wolf appeared to Chiarina

And the wolf appeared to Chiarina

"Guardian of dreams" - A thought with regard to Füssli

"Guardian of dreams" - A thought with regard to Füssli

Nativity in utero

Nativity in utero

Horizontal passage

Horizontal passage

The interlocutor

The interlocutor

The king's glove second invocation

The king's glove second invocation

The first invocation

The first invocation

The charm of Alice I

The charm of Alice I