Adamo Macri is a Montreal-based contemporary artist who works in the fields of sculpture, photography, painting, video and drawing.
In his work, distinct themes such as identity, contamination, and the staging of nature are explored. Documenting sculpture based on perceiving it as an occurrence rather than a static presence. This concept encompasses not only the objects created, but also his own physical being.
The final product depicts an important aspect of his work, the resonating image, as if it were an event that had a significant impact and remained as a vivid image in the mind's eye.
Could you tell us where you are from, and your background growing up?
“I'm the youngest of four children, the only native Canadian of Italian origin, who grew up in an Italian suburb of Montreal. It was intriguing to see how similar each household in that neighborhood was. The furniture, the food, behavior and mentality. As if they were cloned multiples with a minor difference, but otherwise almost indistinguishable. Characters and stereotypes linked with this particular region are well known and typical. They've long been exploited in cinema, theater plays, and the media.
This life experience had a serious affect on how I saw and reacted in situations outside of that sphere and setting. It called into question my relationships and affiliations with the people in my life. It piqued my interest in topics like social identity and character development, as well as tightly framed areas and homogenized environments.”
What led to your artistic awakening?
“I began drawing at a young age with whatever was available to me. Then there was Mr. Dressup, the TV show that I watched religiously every day and who took my doodling and sketching to a new level. His tickle-trunk of costumes and skits amused me, but it was his drawing board segments that had the most impact on me. I was utterly enthralled by his talent and remember picturing him as a magician using a magic marker because I had no idea what an artist was at the time. He, Ernie Coombs, was my first art teacher throughout my childhood, and he deserves credit for it. Not to mention the puppeteering that continues to be a part of my art today.
As an adolescent in high school, I took every art related course available in the curriculum, including fine art, communications and media, acting and theater production. Then came three intense years of study at Dawson College, where I graduated in a program which included: commercial art and graphic design, illustration, 3D drafting, photography, art history and fine art. I've always been artistic, and my interest in the arts has only grown stronger and more intense over time. In the formulation and execution of my work, the conscious awareness of these early beginnings remain relevant.”
As a multi-faceted, contemporary artist, where do you draw inspiration from?
“Art's intrinsic nature and its influence on the general public and cosmopolitan life. It's not uncommon for me to hear that my work has inspired other creative people in their respective fields to do their thing. It's wonderful to be made aware of public reactions, to read the discussions and interpretations on social media. Knowing that I'd given them a new image to think about which piqued their curiosity on dwelling about something different than their typical routine. Making me the catalyst for such possibilities.
Also, the unique empowerment of knowing that I can make anything, and how liberating it is that there isn't much else I need for fulfillment, because this is such a rich gift that offers so much joy to so many others. It's an exhilarating feeling to publicly share and exhibit new artwork. That rush of adrenaline boosts my system's inspired genes to get to work on the next project.
I'm fascinated by longevity and its perseverance, by the idea of forever in a world where most things go away quickly. That legacy justifies the work and time spent developing anything significant. That in and of itself must be a key source of motivation for the art to exist and flourish beyond my lifetime. Also, the work does not necessitate my presence in any way. It's self-sufficient in that regard, and it completes the task at hand.
The act of creation is a spiritual and meditative experience. Hours pass without notice or necessity for anything else. It's a high-intensity good thing, unlike most other life activities. Acknowledging this naturally makes it inspirational with a fantastic reward.”
Do you pursue any specific themes in your work?
“The human condition, mythology, identity, contamination, the staging of nature and its intricacies, are all possible intertwined underlying themes. The interweaving creates its own tension that sparks dialogue with viewers and the arts' intent. The work frequently seeks to include historical narrative strands that are meant to be relevant to today's audience, something of the past brought to the forefront for reexamination. The reference functions as a doorway or portal through which observers can form a link, similar to recognizing something familiar. It allows them to instantly grasp a fraction of what is being communicated.”
“Suspicion and uneasiness gives an overall mysterious tone or even atonality to a piece, as in object in contention, something I always evaluate. Along with melancholy or disappointment, all of which are valid human emotions and sensitivities.”
How do these themes expand on our modern society?
“I’d like to talk about industrial waste contamination, man-made poisons, and their effect on nature and living things. This is a definite recurring theme in my work. It's horrifying to think that something so abrasive and aggressive might come into contact with something as delicate and defenseless as nature's organisms and creatures.
Speaking of poison, unlike processed food, which is bad to consume, art should be the polar opposite: it should be over-processed to the point of being dangerous. To be deemed subversive, and intriguing to the eye and intellect, it must induce some form and degree of disruption. In that perspective, art is always safe, despite of idiotic censorship, as long as you don't eat it.”
Can you elaborate on referencing?
“Yes, at times the mission is how to infiltrate and become part of a classical story known in popular culture. The mindset is, if an actual novel can be ingested in that the narrative would function as nutrients similarly to what we consume. Now, the question lies, what would the result be? How would the figure transform and what would it look like?
Let's take the Dracula story for example. When you examine the evolution of information, it's mind-boggling. A historical 15th-century occurrence, which began with warlord Vlad Ţepeş, is recounted by what was then oral history. Starting from the beginning, forming an interpretation of the truth, all depending on who is presenting the story. Authors start by publishing their own versions and points of view, which are subsequently turned into screenplays, which are then adapted into romanticized forms for film, and so on.
All of this results in a massive creative work of 'over-processed' fiction that is endlessly fascinating. This artistic trail is the ultimate form of referencing. As the fabrication keeps being reconstructed with dramatic alterations, the genuine truth becomes buried, irrelevant, and impossible to know. As an official contribution, I participate in that wonderful fictitious trail by referencing it, and creating artwork imbued with the DNA.”
In gaining more insight into your creations, how would you describe your work?
“In short, I'd say documenting sculpture. Just about all the detailed pieces are constructed first, then applied and photographed. All facets, the facial position, makeup, accouterments, hair and lighting, every aspect of the composition within the frame becomes living theater. The sculptural formations are dictated by the concept. They must be contextually relevant to the story and contribute to the artwork's dynamism.
I grant myself entire autonomy in order to be committed to the art while ignoring any notions of social acceptability. When I choose specific stories, whether Shakespearian or a poem by Edgar Allen Poe, my goal is to paint an allegorical picture of it. To address as many characters in the plot as possible, as well as the setting, atmosphere, color palette, and all that consideration goes into one image with a single person in the frame. In the piece, I, the model, represent the content, including the animal, such as a raven. Again, the elements and overall aesthetic is driven by the theme. However, it must be pushed past predetermined boundaries to the point where I lose myself within the boiling pot in order for it to be capable of becoming its own entity. The end product is a composite 'object' that embodies the spirit and soul of the story.
If Leatherface chased me through the woods and severed my body into four even pieces with his chainsaw: I'd say the first quarter of me would smell like Italian renaissance seasoning, the next slab would spew punk/goth and urban decay, the third would emit fashionista cologne, and the last chunk of meat, before made into sausages, would exude surrealism/horror genre. Bon appetit!”
You often appear in your work. Does this affect your outlook on your art?
“I'm frequently asked if that is me in the artwork, which pleases me to hear, because the art must come first and take precedence over the artist. Some people don't change in appearance much throughout time, I on the other hand do significantly and constantly with minimal effort, in addition to the inevitable aging process. Some weight gain or loss, a hair cut or facial hair or whatever, renders me unrecognizable even to those who see me in public on a regular basis. I'm the model, and I have trouble recognizing myself in the final product, which is thrilling since I never imagined I could look like that. It is in fact, a sculptural mapping-out of one's physical life, an object in flux. Therefore, I reply “That was, in a sense, me.””
Please expand on your creative process for us. Do you follow any methodology?
“When I have a great idea, I jot it down in my notepad. It's a spark or a seed, in my opinion. Other aspects, however, must be developed and infused. For me, it's a multi-layered thing. As it begins to take on its own life, the more layers I add, the more detached I feel from it. Following rough sketches, subsequent sculptural pieces are made, and all additional details are allocated, which requires a serious amount of effort and research. Abstract art involves complex layers and perspectives. To be distinct and hold a truly personalized view point, every element in the piece must be devised to be claimed as entirely mine. Meaning it's all based on sculpture, because most of what we know of photography involves capturing someone else's work, which I dislike.
The second step, but who's counting? is to drop the ego. Deconstructing norms is a mentally challenging endeavor, but once cleared and in the zone, it opens up a world of creative possibilities. I refuse to define character based on traditions, which entails abandoning all social conventions, as any constraints or social expectations do not and should not apply to the creation of art.
My portraits have a neutral appearance to them. Depending on the theme, achieving the appropriate balance is always an obstacle. Proportions, like everything else, require meticulous measurement. That is, how masculine, emotional, and expressive they may come across and were meant to be - as if working in a science lab. The atmosphere, angle, and shadows made by lighting are equally important; they must be done just right to allow the viewer's space to enter and fill in the gaps of what isn't there. To permit them to envision and complete the picture with their own imagination.”
“I have an affinity for artists in general that has little to do with their work and everything to do with the fact that they create and contribute to the pot in their own unique way. Regardless of whether I like their art or not. I believe that kinship has some influence. I've been obsessed with Salvador Dali and Andy Warhol since art school or earlier, but again not for their personal style as much for their courage in producing such radical work for the time.
I own a Dali lithograph titled Inferno Canto 6 Cerberus, which is part of his Divine Comedy series, that I love dearly and which continues to inspire me to this day. Most of Warhol's works aren't for me but I'd want to own Little Electric Chair, his most powerful and haunting piece. I'd also want the stunningly dark and disturbing Three Studies for a Crucifixion by Francis Bacon.
But truth be told, I was far more influenced by cinema than any one artist in history. Film directors such as Ingmar Bergman, Federico Fellini, David Lynch, Peter Greenaway and Alejandro Jodorowsky. My work has been compared to a variety of artists, including Leonardo da Vinci, Albrecht Dürer, and others, but when I look at it collectively, I can't help to think that it appears most Felliniesque.”
How would you define the modern artist’s role in society, and do you see that evolving?
“The artist's job is to teach people how to see, to widen their horizons in a transformative and illuminating manner. Because so much is in the details. It's a profound awakening and comprehension when people grasp this, as if a door opens offering a breathtaking new perspective. In today's fast-paced world, it's vital to slow down and take the proper amount of time to observe correctly.
When people travel through Europe and have some knowledge of the cities' histories, art, and architecture, for example, the experience and appreciation is substantially heightened because they know what they're looking at. Everything they've read and investigated is right in front of them. It's no longer just a lovely object, structure, or aesthetic, but something much more meaningful. It's important to invest time wisely rather than squandering it on frivolous pastimes. The mind is extended by educating and exposing it to as much information in as many forms as possible. A critical discerning sight and intellect provides an intense and in-depth appreciation of life in general.. said Dr. Macri the optometrist.”
Have you had any noteworthy exhibitions you'd like to share?
'Radical' Hyperflexion Contemporary Art, Port Elizabeth SA
'Boston Biennial 5' Atlantic Works Gallery, USA
'Identity Matrix' Galerie ERGA, Montreal CA
'ArtVenice Biennale IV' ARTIsm3160, Venice IT
'The Selfie Show' Museum of New Art, Detroit USA
'Untitled Male ID' Angus-Hughes Gallery, London UK
'Faces' HEP, Gonçalves Sapinho Cultural Center PT
'Beijing Contemporary Art Fair' China Agricultural Exhibition Centre
'Human Emotion Project' Guildford Lane Gallery, Melbourne AU
Artistcloseup Interview Adamo Macri
Published February 16, 2022
Artistcloseup.com
Artistcloseup.com
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"Awesome interview! We really get to learn about "The Artist", Adamo Macri. I really enjoyed reading it."
~ Michael Aronovitch (Canadian actor)
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"The interview is enlightening. Also, I like the accompanying b/w image, which seems to be a collection of elements of your portraits in collapse."
~ Kenneth Radu (Canadian writer)
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"Sublime hypnotic artistic-food visuals."
~ Michael McQuary (Artist/Actor at Entertainment Industry, MTV)
