Mattia Greghi: an escape to the limits of the portrait reaches the ocean

Mattia Greghi

Anticamera Location

For those who have attempted to re-create the world, the sea, pure opportunity, has often been a destination and vehicle for the beyond. And also, because it is merely a volume, for those who seek the limits of linear photographic research, of identity. 

Mattia Greghi Portfolio

Elitis

Mattia Greghi Portfolio

New York

Mattia Greghi Portfolio

Tami Izko

Mattia Greghi Portfolio

New York

Mattia Greghi Portfolio

Casa di Famiglia

Mattia Greghi Portfolio

Milano

Mattia Greghi Portfolio

Milano

Mattia Greghi Portfolio

Acerbis Design

Mattia Greghi Portfolio

Acerbis Design

Mattia Greghi Portfolio

Opera - Edoardo Tresoldi

Mattia Greghi Portfolio

Milano

Mattia Greghi Portfolio

Anticamera Location

Mattia Greghi Portfolio

Anticamera Location

Mattia Greghi Portfolio

Monocle

Mattia Greghi Portfolio

Levi's

Mattia Greghi Portfolio

Cabinet Milano

Mattia Greghi Portfolio

Angelina

Mattia Greghi Portfolio

Cabinet Milano

Mattia Greghi Portfolio

Milano

Mattia Greghi Portfolio

Brasile

Mattia Greghi Portfolio

Milano

Mattia Greghi Portfolio

Sicilia

Mattia Greghi Portfolio

Milano

Mattia Greghi Portfolio

Londra

Mattia Greghi Portfolio

Cuba

Mattia Greghi Portfolio

Sahco

Salone del mobile Salone del mobile

What do a greyhound, Mahmood, a clock radio and a mouldy orange have in common? They are potential subjects of portraits; it is possible to extract them from their context in accordance with rules of composition, underlining and enhancing the characters by blurring or neutralising the background (the world). Men and women, famous or not; animals and objects; stages of matter that were considered obscene have become a diverse beauty: all these things have been the subject of portraits for time immemorial, or at least for centuries. Mattia Greghi's work lies in tracing this type of framing in such a way that even a charging iphone or a full wastebasket join the same formal series, both highlighted and made metaphysical. There is a similar dichotomy in the subjects: the interiors, the objects (the design), the familiar faces are markedly Milanese, at first glance they appear Milanese. Then there are beaches, coasts, sunsets that conjure up the ocean and overseas. Ambiguous physical space is transformed into double imagery: the first identified by the study of form, the second characterised by the detachment from superficial forms. 

3 May 2021