| The Broadway Gallery recently presented the vibrant work of the Italy-based artist Matthew Lauretti. At first glance, the art appeared unsubtle because of the riot use of colors and careening compositions that made the pieces feel cacophonous, feverish, and bursting with an over-the-top energy. But Lauretti wisely added visual and intellectual depth to the work by using reflective industrial fabric instead of canvas as the painting surface. He then astutely chose to illuminate the work by using a single dangling light bulb in the gallery space with the intention to have some of its luminance bounce off the pieces so that their background content would become more prominent, which could add and subtract to the work’s imagery. |  |
Milton Fletcher
The Broadway Gallery recently presented the vibrant work of the Italy-based artist Matthew Lauretti. At first glance, the art appeared unsubtle because of the riot use of colors and careening compositions that made the pieces feel cacophonous, feverish, and bursting with an over-the-top energy. But Lauretti wisely added visual and intellectual depth to the work by using reflective industrial fabric instead of canvas as the painting surface. He then astutely chose to illuminate the work by using a single dangling light bulb in the gallery space with the intention to have some of its luminance bounce off the pieces so that their background content would become more prominent, which could add and subtract to the work’s imagery. The works challenged the viewer to ponder if what appeared in front of them was actually the full picture, and if their first reaction to the work was an accurate one.
This effect comes across strongly in Hi Bear as the gallery’s stark light caused the work’s bright surface colors and artistic flourishes to fade away, and what remained was monochromatic with only the darkest colors remaining. It was like seeing the work in a more basic primal and visceral form. As Lauretti explained, “I have always wanted to produce a luminous effect with movement, experimenting with new materials in place of the canvas and obtaining the results I was looking for: a dynamic effect full of light, a painting which multiplies its effect, and takes on different aspects, according to the light, through all the colors and parts it is made up of, and which expresses a part of me.” Indeed, The artist’s reflective paint surface technique gave the show its most distinctive character.
There was also a strong New York City vibe in the show’s imagery that incorporated trace elements of Pop Art, Abstract Expressionism and graffiti in its swirls of imagery. In the foreground of many pieces are layers that run the full gamut of colors that at times formed recognizable shapes and other times were abstract; others resembled humanoid caricatures that suggest that they were applied to the surface with a homemade rubber stamp or rendered with the artist’s fingertips. Other art gestures and images reminded one of the loose scrawling of Basquiat.
Some works, such New York City I love… I game… were serial pieces. That is, the same background image was repeated with different colors à la Warhol but without the irony. Lauretti’s referencing of NYC art was a main theme of the show, and reflected his professed admiration for New York and its storied art scene. In this respect, the show can be considered the artist’s adaptation of late 20th century’s NYC art touchstones as both a tribute and springboard for inspiration. Luaretti’s show was intense, imaginative, restless, and in your face. The artist visually distilled the New York that he loves.
