Mavet

Mavet`s Transformative Urban Artistry

Mavet, a visionary artist in the field of contemporary digital art, presents a captivating world of urban enchantment through his innovative artworks.

Gallery online_ The essence of his creations derives from the manipulation of images, an intricate process that Mavet masterfully weaves into a mesmerising tapestry of colours, lines and emotions.

At the heart of Mavet's artistic expression is his preference for the "urban" genre. He compiles his collection mainly from snapshots taken by himself or commissioned from his network of photographers. In his own words, "My work is essentially created through the manipulation of images. The images I manipulate are images of the 'urban' genre. They are usually shots that I have taken myself or that I have commissioned from my photographic collaborators."

Mavet's creative journey proceeds in a series of meticulous steps. The initial edits often involve applying philtres to the images, giving them a distinctive visual character. But it is in the subsequent phase of digital painting that Mavet's artistic essence fully unfolds. He affectionately refers to this phase as his favourite and explains: "After that begins my phase of digital painting, which I prefer. In this phase, I work directly freehand on the work, with colours and lines." In this phase, his imagination blossoms, as he adds his personal touch to the artwork and lets colours and lines flow spontaneously from his artistic mind.

The culmination of Mavet's creative process consists of further adjustments that play with the interplay of light and shadow. About this last step, he says: "Finally, I make further transformations with brightness and contrast adjustments." These thoughtful adjustments serve as the finishing strokes that bring his compositions to life, enhancing the vibrancy and depth of his urban landscapes.

Mavet's approach to his craft can be likened to a "magic recipe", a phrase he uses to describe the enchanting fusion of elements he orchestrates in his artistic alchemy. He sees himself not only as a creator but also as the keeper of the secret behind this captivating magic. "I can say that everything follows a 'magic recipe', a fantastic alchemy in which I feel myself the creator and keeper of the secret of this magic I work on the images."

In summary, Mavet's artworks are a testament to his unique vision and boundless creativity. His skilful manipulation of imagery, passion for urban aesthetics and transformative artistic process creates a world that speaks to the viewer on multiple levels. Mavet's artistic journey is an exploration of visual enchantment, where every stroke, colour and setting contributes to the symphony of emotions and ideas that make up his work.

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MAVET's work is characterized from the very start by a photographic realism in which photography is used as an auxiliary tool, as a starting point, which allows him to continuously take images from what is around him. The accuracy of the details and the perspective visions proposed is not limited to the reproduction of a photograph, leaving room for interventions on the digital process, on the form and on the color.

MAVET moves within the new realisms and presents more than a point of convergence with the historical forms of pictorial realism, from the New York school of the turn of the century, with Photorealism and with British artists such as Julian Opie, David Hockney and Michael Craig -Martin.

The main stylistic note of MAVET's production is blurring, which it will never abandon: high definition opposes the low definition of the out of focus image. In this regard, we can speak of his work in terms of Hyporealism, that is, a vision that oscillates between myopia and dreams, which sacrifices details in favor of reduced visibility, without depth of field.

The narration of MAVET's works, as in those of photographers such as Nan Goldin, Wolfang Tillmans and Billingham, takes the form of an intimate and autobiographical diary and focuses on the exploration of the contemporary world and on issues related to identity, depersonalization and standardization. of man in today's society.

Everything that is everyday is part of that different being constantly investigated in search of an anti-heroic vision of the world to be opposed to current morality. Thus MAVET focuses above all on snapshots of everyday life, of moments of solitude and isolation in the chaos of the contemporary world, in which the alienation of man becomes the protagonist of his works.

His production at the same time turns his gaze to the city, to life in the crowded subways, to the suburbs and to its marginal protagonists and to their stereotyped gestures and their vices. The city is almost always seen from a foreshortening, from a ring road bridge silhouetted with all its squalor, captured at sunset with patches of red and purple.

This is how the crowd of crowded centers and basements appears in the artist's work, in his most iconic works and will never come out again.

CRITICA D’ARTE

Il lavoro di MAVET si connota fin dagli inizi, per un realismo fotografico in cui la fotografia è usata come strumento ausiliario, come punto di partenza, che gli permette di prelevare continuamente immagini da ciò che gli sta attorno. L’esattezza dei dettagli e delle visioni prospettiche proposte non si riduce alla riproduzione di una fotografia, lasciando spazio a interventi sul processo digitale, sulla forma e sul colore.

MAVET si muove all’interno dei nuovi realismi e presenta più di un punto di convergenza con le forme storiche del realismo pittorico, dalla scuola di New York di inizio secolo, con il Fotorealismo e con artisti britannici come Julian Opie, David Hockney e Michael Craig-Martin.

La nota stilistica principale della produzione di MAVET è il blurring (lo sfocato), che non abbandonerà mai: all’alta definizione oppone la bassa definizione dell’immagine fuori fuoco. A questo proposito possiamo parlare del suo lavoro in termini di Iporealismo, cioè di una visione che oscilla tra la miopia e il sogno, che sacrifica i dettagli a favore di una visibilità ridotta, senza profondità di campo.

La narrazione delle opere di MAVET, come in quelle dei fotografi come Nan Goldin, Wolfang Tillmans e Billingham, prende la forma di diario intimo e autobiografico e si incentra sull’esplorazione del mondo contemporaneo e su tematiche relative all’identità, alla spersonalizzazione ed massificazione dell’uomo nella società attuale. 

Tutto ciò che è quotidiano, rientra in quel diverso indagato costantemente alla ricerca di una visione del mondo antieroica da contrapporre alla morale corrente. Così MAVET si sofferma soprattutto su istantanee di vita quotidiana, di momenti di solitudine e isolamento nel caos della contemporaneità, in cui l’alienazione dell’uomo diventa protagonista delle sue opere.

La sua produzione volge al tempo stesso lo sguardo alla città, alla vita nelle affollatissime metropolitane, alle periferie e ai suoi protagonisti marginali e ai loro gesti stereotipati e ai loro vizi. La città è quasi sempre vista di scorcio, da un ponte di tangenziale stagliato con tutto il suo squallore, colta al tramonto con squarci di rosso e viola.
È così che la folla  dei centri affollati e dei basement appare nel lavoro dell’artista, nelle sue più iconiche opere e non ne uscirà mai più.