SERGIO DI MATTIA:
Born in Calgary, Canada in 1961. In 1982 returned in the earth of origin of the family, aw Abruzzo (Italy).
Artist of the expressive imagination expresses through painting strong emotions and an internal sensibility of notable charm. Hi defines himself a researcher of new forms and thoughts. Sergio fathoms his own personality and puts a lot of pectoris synthesis
Has participated to a big number of artistic reviews, more than one hundred, in a lot of which has received recognitions. The collective ones that were held at Teramo, Rome, Riccione, in the Castel of Civitella del Tronto, and Mosciano Sant'Angelo
In 2001 he was present in New York as an Italian artist in a foreign countries;
In 2001 hi been assigned "the gold Ambrogio" with the following motivation: " for his cheerful interpretation of a life to be lived, made of colors, of thoughts and of harmonies to devote to the essence of the beautiful one."
In 2002 was in an Individual exhibition to the Palazzo Ducale of Atri.
In 2003 was assigned the Biennial Prize in Venice "Basilica St. Mark" with the following motivation: "For his interpretation of the art as actuality of life" Edition "The square."
In 2003 and 2005 he was conferred to him the diploma "Premio Primavera", and the prize "President of the Ministers" section painter as well as the silver medal of the President of the Italian Republic.
If the painting is an art that develops him on the plan, therefore it is bi-dimensional in opposition to the sculpture that has a three-dimensional connotation who concerns to an artistic form that limits him to the dimensions of the plan it is a pure painter.
Analyzing the works of the painter Sergio Di Mattia is observed the most rigorous application of this theorem, through a painting performed with pure and flat colours by the bi-dimensional geometric plant and "astrattizzante" that recalls the Color-field-Painting American elaborated again in a sort of elementary tachismo of evocation figurative this it identifies the project of our artist as "reconstructions action" abdicating the subjective desire that aim sustains to reconstruct a recognizable reality, pregnant of one fundamental coherence of his and unity.
In the works Di Mattia, the things have one strong evocative evidence of theirs, seen how simple stains of color, they make to emerge an inhuman nature in which the figures overlap integrating to the other objectivities of the picture.
The landscape is strange, of a primitive and alien simplicity, the atmospheres without wind, the water without movement, the objects frozen half-hearted are crystallized in the action of the creation.
The light, that in the commune to intend pictorial, emanates to the outside of the things, from the bright source it discovers the object, it isolates it from the context giving him concreteness and volume, in the works of Sergio it becomes internal as the look, tool of the subjective revelation of the pictorial art.
In the Figurative art the light rouses, in the virtual dark of ours to see, the form and it makes it clear therefore legible, in our artist, it stops being the support of the form to translate him in the purest formality of inside revelation instead, it becomes symbol of the selective and revealing look: it emanates from the same things of the painting, things what time they come, before, toward the painter, then, toward who observes.
In this poetic vision the object of the picture imposes him to the subject as the enigma that must have disclosed and resolved through to think analytical of whom observes. The present brightness always in his pictures, is born therefore from a cultural message that brings the things on the canvas to take evidence in us, to attractively give him to our understanding to be tame and finally be inclusive.
In the first section of pictorial art dated year 2000, that we want to identify in the "PURAISMO" in which the connotation is decidedly abstract, to the last period in which in the work the return to the figure, even though abstract, connects it to the social context, a substantial stylistic and ideal coherence it exists.
Constant Puraista of this painting is the appearance in his works of particular zones treated as small diadems set in the picture, the same trees are so represented so much by a Totemic forms. The figure is the bond of the connection of social reality concept of the artist.
The fresh spontaneity of its painting never goes confused with a superficial calorimetrical judgment as expression of the joy to live and to paint, this vision more times expressed in the critical judgments on the artist banality the deep sense of the work of this.
Devoti prof Giuseppe Sebastiano
For information on the artist visit Wikipedia and use the key word (cerca) "PURAISMO"
Prof. Arch. D.G.S.