The artistic virtuosity of Mattia Fiorenza

International Art Master Mario Salvo

In a world in continuous metamorphosis co-virtual technologists that does not allow a more balanced life cut through a lesser frenzy and greater tranquility, to live in an appropriate way the true emotions, the authentic ones, known with immense pleasure that someone still tries to propose to the 'attention in a highly virtuous way despite the carousel of the ephemeral turns faster and the superficiality super-large hotel. From the point of view of a free space of normal mental and expressive synergy rather than enclosed by the ill-concealed awareness of being precipitated in the limbo of emotional hardening, I could finally admire in a "genuine" form the safe and strong forms and lines of an artist that definitely will talk a lot about itself in terms of quality: despite the still young age, has an artistic look of such stature that you are strongly impressed by the stylistic skill that manages to shape in his works I would dare to say "masterpieces". A shrewd, expert, effective and emotional art that knows how to take to the throat giving that particular refined taste, typical of lovers with an innate artistic "charm". Mattia Fiorenza, although he is now applying copies of works by the most famous artists of the past, is endowed with a disruptive power that transpires in its many colors, wise but balanced at the same time, managing to create a personal impression of thickness and a own characteristic and captivating style. After the experience of reproducing works by famous professionals, given the very young age in which he demonstrates his desire to learn and understand the pictorial interpretations of other characters in the art world, I am sure that he will begin a valuable personalized journey that will launch him definitely discovering his chromatic soul and his preferences that most sympathize his third eye. I recognize in his current way of painting an exceptional skill mixed with a disarming stylistic safety that strides considerably with his identity card ... (not yet twenty!). Clear his contrasts almost to recall the great portraits of the past, where it was imperative and extremely professional, a rather dark background that gave value and prominence to the bust of the person portrayed and who recognized sobriety and skill for the work to him who had realized. Nothing more real and concrete, provided that from the bust emerged that emotion and pleasantness to the interlocutors admired not only by the resemblance (element at the time considered essential for a clear classification of the level of ability of the artist) but by the totality of the work, from themes to elements through the tonic and synthetic balances present. And in his works, believe me, these technical and plasmatic ingredients of the past artists are exactly present, reworked in a modern way but respecting the main archetypes of the portrait. Emblematic are the works "Portrait of a Woman", "Saint Paul the Hermit", "Princess Margaret", "Copia de - La bella italiana" and "San Giuseppe" where the approach to traditionalism is still evident while we find a slight interpretation more free in "The drinker of Absinthe", "Satyrs" and "The woman who weaves" in which the fast hand has traced more sinuous, more marked and evident chromatic paths. But the beginning of the transformation (one can safely speak of "maturation & personality") in a future key I see it in "The little seller of violets" and in "The dead Christ in the sepulcher" where the chromatic synthesis is more evolved and the sign, unavoidable as it is, begins to free itself from the complex canons of the past and I believe that as soon as its path is completed, it will understand the wings to fly now: it will be then that we will see it hovering blissfully in our artistic firmament!

My sincere and personal wishes for this to happen as soon as possible.