Adamo Macri Interview

Panart | Visual Arts Magazine

Introduce yourself to our readers and tell us a brief history of your artistic life.

I'm a Canadian visual artist based in Montreal Quebec. Distinctive and reoccurring themes interweave in my work such as the forbidden, identity, contamination, mythology, nature and its complexities. They are considered my fundamental set of commandments. I always describe my creative process simulating the act of food preparation, fashioned through the amalgamation of disparate elements. I began drawing as a young child at the age of three. I studied in the creative fields throughout elementary and high school with constant attention placed on the art, music and drama studies. Later graduating from a three year Commercial Art program at Dawson College which consisted of intense courses in fine art, graphic design, photography and art history. I've worked since as an independent artist on a contract basis. I have exhibited work globally in different art institutions such as, the Angus-Hughes Gallery (London), Art Space Gallery (Durban), Sint Lukas Gallery (Brussels), Bildetage (Vienna), Arnot Art Museum (New York), AFA Gallery (Beijing).

The texture and the accuracy of details are so important in your art, why?

I regard texture similar to the function of taste buds in our mouths. But in a visual form. Texture does create a specific flavour which affects our senses. I do address the outer surface significantly so that it brings awareness and importance to it. Conceptually, I deal with the codependency of surface and content and the equal value of both. I use the example of the relationship between a film and the poster created to promote it. A movie poster is a single image initiating the viewers imagination, prompting imagery based on their interests and expectations. This relationship between film and poster can be likened to the relationship between the container and the contained or even the skin and the viscera.

What is your photography style? Abstract or minimal.

My work is abstract at all times even though some of it may come across as minimalistic. I'm generally not into placing any kind of labels. I do preach the idea of individualism as in not adapting any kind of style or model other than that one of your own. I always found it strange in art history when studying about the different guilds and movements. It sounded too contrived and having to follow devised parameters to create art. I personally am not a team player in that manner. The art should be labeled by the artist's name only.

What are your equipment for picturing texture and details?

I use an assortment of digital cameras. Due to the fact that much of my work involves, evokes and represents the microscopic world, different zoom and wide-angle lens are employed. But that isn't always the case. I create the object first, which is the art subject, therefore the lens will be chosen and indicative to the scale of the object and what needs to be captured in the frame.

Tell us about other photography styles you follow.

I'm predominantly interested in what's considered to be Fine Art photography. Abstract and Self-portraiture would also be two others on my list, as well as some Journalistic practices. I tend to be intrigued by the documentation, storytelling, and archiving aspects of the field, rather than photography that's strictly based upon aesthetics. I'm generally a content fiend with a strong appreciation for video stills which capture precious moments, profound and telling.

Tell us about other domains of art that you follow, apart from photography.

As a multimedia artist, I work with, and usually in this order; writing, drawing, sculpture, painting and lastly photography. I use different mediums in a systematic order to arrive at the end result. I compare this methodical approach to stages of procreation. The photographic segment is always the final stage. To fully grasp this idea, you must understand my viewpoint on sculpture. My standpoint is based upon perceiving sculpture as occurrence and not static presence. I refer to this as 3D Event the practice of anti-sculpture. I think of art medium (media) as a whole organic system, a methodical process which begins with writing notes down on paper. Then a series of drawings are made. Later I start creating the sculptural pieces. The final phase is having to document the objects with a camera. The camera is literally the weapon used to make sculpture disappear. The photographic segment places all objects in the past tense. In an instant, sculpture has vanished and a new reality is created. The result is a documentation and archival object of art. This piece represents the resonating image, as though a mental image which is retained for a longtime. Treasured moments that live on forever, which have changed, moved, and impacted our lives.

PANART Visual Arts Magazine - Adamo Macri Interview
Vol. 01, Issue 12, December 2013 by PANART Visual Arts Digital Magazine