The first graphic novel by Lorenzo Mattotti is now reissued by #logosedizioni as the starting point of a publishing project which aims to go over the artistic development of the best loved Italian illustrator. A novel made of words and black and white images looking vague and evoking, creating blank spaces for the reader to fill.
The protagonist of the story is a “soft-eyed” sculptor with an elusive personality; from his window over the roofs he observes the small universe of the changing town and imagines different lights and far-off daily lives. His existence is intertwined with the lives of a few characters who offer him the opportunity to reflect, especially about himself. Three female figures stand out among them: Irene, the ex-wife with whom he has a tender and unresolved relationship; Aurora, a casual meeting culminating in a passionate sexual intercourse; the botanist Miriade who tends to her greenhouse waiting to receive the plants that her sweetheart sends her from his travels. Among the male characters, the hospitalized philosopher friend, the “breaker” who cannot bear the effect of the artworks and feels the urge to destroy them, the professor who cowardly eludes the affection of Miriade.
These relationships are explored side by side with the theme of artistic creation which, like human relations, does not aim to “originate other solidities or certainties, but to make different things lightly touch each other, and touching each other create something else”.
All these tensions take shape in the poetic dialogues written by Lilia Ambrosi and in the images where the rarefied contours of the figures drawn with a thin ballpoint pen coexist with the accurately accomplished urban geometries, while the strokes flake apart, also in the architectures, under the pressure of weather disturbances, and explode in the sequences about nightmares, echoing the technique of Jackson Pollock and anticipating the style of Mattotti in Hansel & Gretel and Oltremai.
“Some people remain on you like scars” explains the protagonist to his friend Miriade.
And the same can be said about this book.
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. Constantly searching for a language that can go beyond the existing boundaries, the assorted works of Mattotti have been exhibited in Sconfini, and the exhibition catalogue has been published by #logosedizioni in 2016. In 2017, Mattotti collaborates again with Jerry Kramsky, creating the new graphic novel Ghirlanda (#logosedizioni), an epic story that carries the reader into a magical journey. Ghirlanda wins the Gran Guinigi Award at Lucca Comics & Games in 2017. 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 and Lettere da un tempo lontano.
Born in Trieste in 1957, Lilia Ambrosi graduated from grammar school and afterwards earned a degree in foreign languages and literatures. She moved to Milan where she lived for about ten years working in the publishing industry, in particular for an Arabian children’s publisher. She wrote a few handbooks and translated several books. She collaborated with several illustrators contributing the text and script to comic books published in Italy and abroad. In Bologna she worked within the editorial department of the magazine of culture and comics Dolce Vita, directed by Oreste del Buono. In Milan, she taught Italian to foreigners for some time. Back to the town where she was born, she collaborated with the regional office of Radio RAI talking about books and for a long time wrote for Il Piccolo, newspaper of Trieste, about art and books. For about ten years she interviewed important writers for the magazine Illywords. She is still working as a translator and has been teaching English for many years in the secondary school.
|Cover||softcover with flaps|
|Dimensions||cm 21,0 x 28,0|
|RPM 37 Speciale: un'educazione musicale||Blow Up||01-04-2018|
|"A VOLTE IL FUMETTO E' UNA GABBIA COSI' MI DIVERTO CON IL CINEMA"||Il Mattino||05-04-2018|
|LORENZO MATTOTTI "VIAGGIO E IMMAGINAZIONE NELLE MIE STORIE A FUMETTI"||La Repubblica / Napoli||05-04-2018|
|Un viaggio nell’illustrazione e nella narrativa per bambini e giovani adulti||Espoarte||www||07-04-2018|
|Oltre la finestra, il silenzio del colore in Mattotti||Fumettologica||www||23-04-2018|
|Mattotti, i corpi e le parole||Il Venerdì||15-06-2018|
|5 motivi per leggere “L’uomo alla finestra” di Mattotti e Ambrosi||Fumettologica||www||25-06-2018|
|Lorenzo Mattotti trasforma in poesia il caos della vita||Internazionale||www||05-01-2019|
|L’uomo alla finestra, esperimento poetico per un Mattotti etereo||Lo Spazio Bianco||www||26-07-2019|