⾺泰奧‧⾺薩格蘭德 Matteo Massagrande  義大利  b.1959

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Massagrande是一位俱有藝術天份且造詣很高的畫家及雕刻家，出生於義大利威尼托地區的帕多瓦(Padua)，自1973年展露頭角以來已參與過百餘場在巴塞隆納、馬德里、首爾、倫敦、香港、布達佩斯等各地的展覽，其中2011年他更代表義大利國家館參加第54屆威尼斯雙年展，獲得紐約時報的特殊報導。

 

Massagrande的作品細緻地描繪出建築物室內的衰敗，他利用光線、獨特的色調以及電影鏡頭般的視角來捕捉這些曾經富有生命力，但現今被棄置的都市空間。觀者的目光會立即被一間間的房間及半遮蔽的迴廊和陽臺所吸引，眼望窗臺及室內各個角落,不禁讓人猜想房間之外是怎麼樣的風景。

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視角和光線的運用是兩個在Massagrande的作品中最重要且具代表性的印記。他的畫作不僅僅是理性觀察並紀錄下來的結果,取而代之的是十四、十五世紀典型的經驗式繪畫方法。 Massagrande向文藝復興時期大師學習,吸取他們的精華,並用他自己的語彙重新詮釋大師的畫作。跟早期的大師ㄧ樣,Massagrande運用多重焦點作畫,每個場景就好像是同時從三、四個不同的角度被觀看,但每個場景卻又奇幻般地呈現出明確的視角。此一特點也顯現在Massagrande對於空間的掌握上。Massagrande從各處汲取靈感,將不同的空間融合到一處,再加上他對光線熟練地運用,他進而能創造出煥然一新的真實。此時任何有關於「人」的元素都是多餘的,因爲室內空間本身就已栩栩如生,這些室內空間散發出的不只是過往居民們留下的生活痕跡,而是空間自身的生命力。對藝術家來說,任何場景都是經過重組後的想像。我們所看到的空間和靜物因爲光線的照射變得飽滿,而這些景象都是藝術家將他的記憶沈浸在和諧與寧靜之中的結果。

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Massagrande的作品被收藏在世界各地的美術館、教堂，公家與私人的重要收藏之中。

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Massagrande is one  the most important representatives of the Italian Modern Realism. A native of Veneto (born in Padova in 1959) Matteo Massagrande is a painter and engraver with a profound knowledge of the history of art, both old and contemporary, and is dedicated to the study of ancient techniques in painting, engraving and the art of restoration.

 

He started exhibiting his work in 1973 participating in both collective exhibitions and competitions, receiving recognitions and numerous awards. In the last few years, he has held many prestigious exhibitions, both paintings and graphics in Barcelona, Madrid, Seoul, London, Hong Kong, Budapest and Beirut. In December 2011, the New York Times dedicated the opening of the special ‘Arte’ to Massagrande who was also present in the Italian Pavilion at the 54th International Biennial of Art in Venice.

 

In their subject matter and method of execution the paintings evoke light, place and time. Most show architectural interiors with vistas through to exterior spaces, some focus on cryptically symbolic trees. He is particularly interested in revealing the light that articulates and discloses the subject. His technical accomplishment is evident in their subtle expression, where he deploys a masterful and meticulous command of colour and tonality.

 

The nature of his subject is intriguing and mysterious. He shows unoccupied, decayed, possibly abandoned, domestic interiors. These still and eloquent rooms are freighted with absence and melancholy. This is offset by the sophisticated handling of light and colour, which seduces the eye and lends a lighter atmosphere of interested enquiry. These rooms have intricate tiled floors, which flow from one space to the next, leading the eye to subsequent rooms and eventually to garden-like exteriors. What one begins to notice are deliberate variations in perspective, emphasised by the grids of tiling, which suggest that these paintings do not simply record a view, but are elaborate constructs. They are in fact composite images, collated to produce theatrical and compressed evocations of location and history.

 

A tension plays out in these outwardly calm and controlled images. The subject, a point in time and space, is elusive, constantly changing and sitting on the edge of perception. Massagrande’s careful rendering of his systematic and forensic observations makes paintings of rich visual density, which effectively capture and pin down a significant moment within his rigorous method.

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His works can be found in numerous museums, churches and in prestigious public and private collections all around the world. He lives in Padova and divides his time working both in his studio in Padova and the one in Hajòs (Hungry).

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