Lorenzo Mattotti’s room is an uncertain place, with bare walls, where minimal and essential details sporadically emerge on the surface: the headboard, a pillow, the corner marking the encounter between walls, a square that could be a painting or a window, chess patterns, maybe the patchwork cover, maybe the tiled floor. The room could fit in any place, in any time, and all we can see is just a narrow portion developing on the horizontal space, the portion tightly surrounding the bodies of two supine lovers. Zooming in and constantly changing perspective, the lens allows the observer to spy on them from a close distance. Actually, the room is not a physical space in which the two lovers interact, but the abstract space that marks the boundaries of their love, that defines it and protect it. It’s the shelter hiding them from reality, probably from their own lives, keeping them afloat in a parallel dimension where they exist only for each other. They could be two young people at their first experiences, two secret lovers or a long-lasting couple still keeping their love alive or meeting for the last time: we don’t know anything about them, and this allows us to easily identify ourselves with them and let our imagination run loose. Sketched with fast strokes, the man and the woman in this book of pencil drawings are almost stylized, while all the attention is focused on their gestures. Page after page, the scene proceeds in slow motion. Filling the atmosphere with tenderness and, at the same time, desire, Mattotti turns down the opportunity to capture the sexual act, preferring to linger on those moments which immediately precede or follow it, the moments when the two lovers, with the clothes still on, or partially undressed, look into each other’s eyes, brush gently the skin, exchange whispered words and caresses, gradually explore each other’s bodies. We watch as a true grammar of love comes to life, brightened by the constant changing of perspective and the unevenness of the strokes, which may appear straight and sharp, in a playful mix of light and dark, or become faint and thin, to mimic light effects. You can flip through the pages of this notebook, again and again, taking your time, or you can run quickly through the scenes, watching as the figures animate with a cinematic effect, with that empty page after each table that resonates as an invitation to be creative, draw something yourself, write down a message, leave a mark.
Lorenzo Mattotti lives and works in Paris. After his studies in architecture, he started off in the late 1970s as a comic strip artist and in the early 1980s created the Valvoline collective together with other artists. In 1984 he published Fires, which was welcomed as a great event in the world of comics and won several important international prizes. From Incidenti to Stigmate, from Signor Spartaco to Doctor Nefasto, L'uomo alla finestra and several other titles, Mattotti’s work has evolved consistently and, at the same time, with the eclecticism of an artist who is always in search for new territories to explore. Today his books are translated all over the world and his illustrations are published in newspapers and magazines such as The New Yorker, Le Monde, Das Magazin, Süddeutsche Zeitung, Le nouvel Observateur, Corriere della Sera and la Repubblica. Mattotti re-interpreted the creations of the most important fashion designers for the magazine Vanity, and in 2010 designed all the covers for the architectural monthly magazine Domus. He has illustrated several children’s books, such as Pinocchio by Collodi and Eugenio, that won the Grand Prix of Bratislava in 1993, one of the most important awards in the field of children’s publishing. Mattotti’s works were featured in many solo exhibitions, such as the anthological expositions at the Palazzo delle Esposizioni in Rome, at the Frans Hals Museum in Haarlem and, more recently, at the Musei di Porta Romana in Milan. Mattotti has created posters, covers and advertising campaigns: he designed the posters for the Cannes Film Festival in 2000 and for the Estate Romana. Among his most recent publications: Jekyll & Hyde (NBM Publishing, 2003) and The Crackle of the Frost (Fantagraphics, 2003) and, at the same time, I manifesti di Mattotti (2002) and Angkor (2003) for Nuages; in 2008, Appunti sul paesaggio for Tricromia and Le avventure di Pinocchio in the Einaudi series “I Millenni”; in 2009 Hänsel e Gretel for Orecchio acerbo/Gallimard, whose amazing illustrations complete Neil Gaiman’s texts in the English edition. In 2010, a collaboration with Lou Reed gave birth to The Raven (Fantagraphics Books, 2012). In 2004, he created the segments between the three episodes of Eros, a film by Wong Kar-wai, Steven Soderbergh and Michelangelo Antonioni. In 2007 he made one of the six episodes of the collective animated film Peur(s) du noir. In 2011, he worked at the animated sequences of the movie by Charles Nemes, Il Etait une fois... peut-être pas and, in 2012, he created backgrounds and characters for Pinocchio, an animated film by Enzo D’Alò. In 2012, #logosedizioni launched the series “Works”, a systematic publication of his illustrations: the first volume deals with pastels and second one is a tribute to the fashion world. In 2013, #logosedizioni released also the visionary work Oltremai, which was exhibited at the Pinacoteca di Bologna. In 2014 he created Vietnam, for the “Travel Book” series by Louis Vuitton. In 2017, Mattotti collaborated again with Jerry Kramsky, creating the new graphic novel Ghirlanda (#logosedizioni), an epic story that carries the reader into a magical journey. Ghirlanda won the Gran Guinigi Award at Lucca Comics & Games in 2017. His personal exhibitions are numerous, including the retrospective at the Palazzo delle Esposizioni in Rome, the Frans Hals Museum in Haarlem, the Porta Romana Museums in Milan, and the most recent, the Sconfini retrospective (2016-2017) and Covers for The New Yorker (2018), for which #logosedizioni has curated the catalogs. In 2018, #logosedizioni has inaugurated a new series that brings the artistic evolution of the cartoonist Mattotti back in a new guise, starting with L’uomo alla finestra and Stigmate. Recently, Lorenzo Mattotti has directed the French-Italian animated film La famosa invasione degli orsi in Sicilia (The Bears' Famous Invasion of Sicily). The film, based on Buzzati’s omonymous book, was released in October 2019 and was selected to be screened in the “Un Certain Regard section” at the 2019 Cannes Film Festival. Mattotti’s universe by now seamlessly ranges over comics, painting, illustration and film animation.
His books for #logosedizioni are: La stanza, Mattotti Works 1, Oltremai, Stanze, Venezia - limited edition, Venezia - Scavando nell’acqua, Mattotti Works 2 - Moda/Fashion, Nell’acqua, Oltremai - trade edition, Sconfini, Ghirlanda, Blind ,Covers for the New Yorker, L'uomo alla finestra, Stigmate,Caboto, Lettere da un tempo lontano and La Zona Fatua.
|Cover||Softcover with flaps|
|Dimensions||cm 21,0 x 10,0|
|LE SERENE COPPIE DI MATTOTTI||La Repubblica||01-02-2011|
|CINEMA IS NOT DEAD||filmidee.it||www||05-05-2016|