Michael Mastrototaro

Seit 2021 widmet sich Michael Mastrototaro intensiv seiner Werkserie "Assimilation". Hierbei steht die Auseinandersetzung mit gesellschaftlichen Veränderungen im Fokus, insbesondere im Hinblick auf Technologie und den zunehmenden gesellschaftlichen Drang zur Entmenschlichung. Historische Familienfotos werden mit Marker comicartig überzeichnet: Menschen werden zu Außerirdischen oder zu Robotern, Autos zu UFOs und Raketen usw.

Polina Solkazian on Michael Mastrototaro's work series titled "Assimilation":
"The pieces are based on the artist's perspective on the theme of dehumanization, a topic deeply connected to our technologically evolving society. The concept of Mastrototaro's artwork has many layers that are truly intriguing."

To start, let's take a closer look at the technique behind most of his artwork. A significant part of it is in the form of photo overlays. His earliest pieces in this technique date back to 2008-2009. The artist presented the series of works called "American Cannibals" which consisted of marker drawings over the photos of criminals, making them look ridiculous and absurd. A year later, he showcased the "Effigi" series. The title comes from Latin "effigies", which means "to portray". The drawings were made over photographs taken during his travels in Zimbabwe and were intended to represent a different perspective of the same moment. Through these works, Mastrototaro emphasized that the experience and emotions are unique to each individual in the context of the perception of the single photo.

These two series marked the beginning of the artist's work in this direction. When talking about photo overlays, the feeling and the idea in the moment play a fundamental role. Despite the drawing, the process almost mirrors photo creation: one moment, one touch, one emotion - no sketches and just one attempt.

Societal changes in the context of technology and the growing societal urge toward dehumanization have become the central theme of the artist's work since 2021. The robots among, between, and within people represent the constant presence of something artificial, unknown in everyone's lives - in particular, technology. It has become an essential part of our existence, simplifying it but at the same time distancing us from each other. By turning people into robots, Mastrototaro also highlights the current political agenda, showing people as easily manipulated, following an imposed regime, and losing their humanity.

Furthermore, the artist uses old photographs of strangers in his artwork, reinforcing the idea that dehumanization can affect anyone, regardless of background or identity.

Moving from the depiction of robots to the recurring motif of UFOs, we uncover another layer of meaning within Mastrototaro's work, one that invites us to contemplate the unknown even more. Linking with the previous theme, in the artist's eyes - help to people from something incomprehensible and unfamiliar can only come from something equally unexplored - from aliens. This motif continues even in the titles of the works, which are assembled from the originally existing inscriptions on the photographs themselves and just written backwards. An alien language, perhaps?

As we shift our focus to Mastrototaro's oil paintings, particularly pieces like "Animal 1" and "Animal 2", UFOs become a central element there as well. We see the animal as if through the prism of an alien being - in a new way and without understanding who or what is in front of us.

Thus, the works gradually transform into a story about the future, framed by the theme of dehumanization.

Excerpt of the opening speech at Galerie Breyer, 04.04.2024