Antonello Matarazzo is a painter, director and video artist. He took part in the “Medialism” of Gabriele Perretta. Since 2000 his videos have been welcomed in many Italian and foreign film festivals, some of these, like Mostra Int.le del Nuovo Cinema di Pesaro and Festival Internacional de Cine de Mar del Plata in Buenos Aires, Mostra del Nuovo Cinema in Pesaro and Signes de Nuit in Parigi, have also proposed retrospectives of his work. He also produces music videos and artistic documentaries. In 2009 he made a film-documentary entitled Latta e Cafè (4th Festival Int.le del Film di Roma), produced by Luigi and Aurelio De Laurentis for Filmauro is recognized of cultural interest by “Direzione Cinema del Ministero per i Beni e le Attività Culturali”. The core of his research is based on the ambiguity between still picture and motion, often giving micromotion to photos through the use of morphing and warping. But the link between his painting, video and video installations is his tendency to explore the introspective and anthropological aspects. This is the reason why in many Universities, like Brera, Roma 1, Chieti, Genova, Salerno, Pisa and Cambridge, his works are shown as an educational tool in seminars and workshops. His work was showed in the editions 53° and 54° of the Venice Biennale. In December 2014, the Rarovideo / Minerva Pictures publishes an anthology entitled Antonello Matarazzo - Video and Installations, for the series (interference) curated by Stefano Curti and Bruno Di Marino.

       

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The understanding of the world is also expressed through the body which keeps himself in the karmic process information. The choreography aspires to sublimate several animals’ gestualità who come from an ancestral territory in which the self identifies with the identity of other life forms, such as biological metamorphosis, it is a stream on the body of the interpreter in an uninterrupted flow marked by the first chronophotographic experiments which E. Muybridge and È. J. Marey realized using several wildlife species.

As a matter of Madness, is to move in circles. And you find yourself still wondering what it is. Declined with good and evil: the madness of love and mad killing spree, act of madness and insane utopia. Madness is the limit beyond the madman. Based on the Variations on Bass Madness, one of the most popular music themes of Baroque European musicians.

The oxymoron between immobility and transformation is represented by the progressive growth of the flow of water. The face of an adolescent that finds its counterpart in the fresh flow of water. The inconsistent transparent water as opposed to the fragility of bodies subject to the passing of time. Organic forms absorbed into the relentless cycle of nature, where everything changes and nothing is destroyed.

The oxymoron between immobility and transformation is represented by the progressive growth of a tree. The roughness of the bark is similar to that of an ageing human body. The apparently inanimate robustness of the plant as opposed to the fragility of bodies subject to the passing of time. Organic forms absorbed into the relentless cycle of nature, where everything changes and nothing is destroyed.

Going back to the seventeenth-century iconography of the Vanitas, through an evocative visual metamorphosis Karma baroque tells over time and changes in the human body. It is a trip between life and death, a digital allegory in wich the body of the painting "re-mediates" the body of the video.