The Catanese artist Matteo Mauro explores a new boundary of creativity: painting with algorithms. His Inscriptions arise from the intersection of mathematics and intuition, a visual language where lines flow without ever crossing, generated by parametric formulas that the artist has been developing since 2016, long before the current boom of artificial intelligence.
His connection with Sicilian Baroque emerges in the pursuit of visual wonder, but here the ornament transforms thanks to an AI controlled by the artist: the machine neither judges nor reinvents its code, but executes a system of rules capable of producing infinite variations, much like nature itself.
In the Micromegalic Inscriptions, digital painting takes shape from an accumulation of lines that become material, yet retains the centrality of drawing, which for Mauro remains the purest trace of humanity. His work on Paolo de Matteis’ Triumph of the Immaculate is emblematic, where color and algorithm converse between reality and transcendence.
A professor of digital art at international institutions such as UCL and LSBY, with works exhibited at the Royal Academy of Arts and the Grand Palais, Mauro was recently featured at Artissima (Turin) in the Main Section of the Prometeo Gallery by Ida Pisani, with a new series of Inscriptions on Canvas: a return to canvas with completely new tools.
