Matteo Gatti, Naomi Gilon, Andrea Samory

20/11/2021 – 15/12/2021

Edicola Radetzky – Viale Gorizia (lato Darsena), Milano

Edicola Radetzky presenta Mirror Room, mostra realizzata con la collaborazione di Candy Snake Gallery, con le opere di Matteo Gatti, Naomi Gilon e Andrea Samory.

Il progetto unisce le opere dei tre giovani artisti, accomunati dalla vicinanza all’immaginario fantastico tra ibridazioni di forme umane, animali, vegetali e artificiali. Tramite l’utilizzo degli specchi lo spazio espositivo diviene luogo in cui decade il limite tra realtà e finzione, in un gioco di riflessi misterioso e seducente.

The research of Matteo Gatti (1989, born in Olgiate Olona, lives and works in Turin) develops around the overcoming of the centrality of the human being, with works that are the result of interventions of hybridization of elements natural and cultural. The recent production is characterized by the use of colored pencils to create drawings in which the flow of consciousness leads to free associations, in a state of permanent dialectic that celebrates the conflict between opposite elements such as monstrous / seductive, artificial / natural, human / non. human, contemporary / archaic, macroscopic / microscopic, rational / irrational, sentimental / bestial, real / imaginary.

Drawing inspiration from some forms of popular culture such as science fiction, horror cinema and mythology, in her recent works Naomi Gilon (1996, born in Arlon, lives and works in Brussels) creates fantastic forms in which the monstrous comes to life by breaking into everyday life, with forays into the fields of design and fashion. The main technique used by the artist is glazed ceramic, with which the body is portrayed in its possibilities of transformation, giving life to chimeras between the human and the animal.

The practice of Andrea Samory (1991, born in Padua, lives in Tokyo) focuses on the relationship between biological matter and the stereotypical concept of nature.

His research refers to a parallel reality in which beings are simultaneously virtual and real, living and dead, natural and artificial, biological and mineral. Familiar and comforting images are systematically alienated from their idealized context, creating a terrifying, bewildering, corrupt artificial nature. The multiple techniques used combine industrial synthetic polymers with living plants, SFX film materials with earth and stone, digital renderings with 3D printed reality.