Riccardo Matlakas on Melting Borders between art and society
RICCARCO MATLAKAS: I’ve always felt like exploding inside every time I did something only for money. I felt time was stolen off my life. I feel there is so much injustice in the world, even in the way society structured work hours. Photograph of ‘Melting Borders’ 2017
With the numerous painters, musicians, poets, writers, and performers that I have spoken within the last few years, there have been a few instances where I have blown away by the sheer prolificness of their work. Such is the case with cross-disciplinary artist Riccardo Matlakas, and the way his work slowly chips away at the borders that we have drawn for ourselves.
There is a very good chance that you might have spotted Matlakas performing some of his works on the street of London – where he now resides. Or in the PyeongChang Cultural Olympics on the border of South and North Korea (if that is somewhere you happen to find yourself). Or in Kharkiv, Ukraine. Or in Amman, Jordan. Or in dozens of cities all around the world.
You may have been lucky enough to see some of his paintings on exhibit in Seoul, Gwangju, St.Petersburg or Helsinki. Or you might have come across one of the countless interviews, workshops, or lecture that he has done in cities across the world.
Regardless of whether you have come in contact with Riccardo, or his work, the one thing that becomes clear once you do, is that he is a man that lives every second of his life as an artist and a creator.
He is shameless in his expressions of public performance. He is thoughtful, yet provocative, in the way he presents himself and his work. And he is completely untethered to any stigmas or categorizations of what should or should not be done in his exploration of creativity.
want some fresh DIY tips & hot culture in your box?
INTERVIEW WITH RICCARDO MATLAKAS
Your career as an artist is genuinely quite fascinating to dig into, because it’s almost as if you refuse to be put into a categorization as an artist. Can you tell if there was a moment in your life when you decided that expressing yourself creatively would be your life’s mission?
Thank you! I realized, in fact, that there is so much to do creatively and that one life would be not enough. So when I was working part-time and kept my art practice I felt frustrated as I felt that even one day a week of work would obstruct the flow of it. I also felt that every job we do, even the easier one, is a responsibility in society and that we all contribute to it in some ways.
I believe art is everywhere in our society and in every job already existing, and some people put that particular magic which can be measured with art. I’ve had the opportunity to travel to many countries through my work and, at some point, it became impossible to have any job as I was spending very little time in London, where I am based.
I’ve always felt like exploding inside every time I did something only for money. I felt time was stolen off my life. I feel there is so much injustice in the world, even in the way society structured work hours. A series of events lead me to join many residencies abroad and to work persistently as an artist, and this is something I keep doing with love, hard work, and awareness.
So if you need a time-frame of when exactly, I am not sure, but a series of events definitely brought me to keep trusting that things will come if I work honestly and remain tue with myself, without greed, it might sound spiritual or religious, but it’s nothing like that. This is just a proven statement that was risen by my own experience on my own skin.
‘Riccardo Matlakas ‘Melting Borders’ • 2017
When you enter into the creation and research period of your work, how do you come to a decision on which medium you will use for the output of the work – performance, painting, ect?
It’s all so exciting and frustrating at the same time, writing, sketching, reading, and day-dreaming is all part of it. I think the media usually emerges as a force and as I am very flexible.
Many times, I follow the origin of what is required, also according to where I am in the world. Each context requires different means of expression, where sometimes we can push the borders of what is possible and some other times better not. Tuned Intuition is a good friend in many cases.
Lately, I am enjoying starting with performative actions, which are filmed and photographed and which have usually a relic of my performance that shows up in an installation during an exhibition – so that I end up having a multi-disciplinary final display. I love this, it gives me so much freedom.
Regarding painting, it’ s a media I will always love, particularly street art as it’s immediate confrontation with the public. Even the most naïve work in public spaces have something different to say in a gallery set up – with the difference that the people in the street, who were not previously educated to the work, can encounter the art. In fact, I create many performative actions in the streets that sometimes leaves the public confused, but what I really like about it, is the fact that it creates conversations, raising questions and activate the power of imagination.
Take me through some of your practices that work to develop the vocabulary for your work – the style for your paintings, the concepts for your performance art, the choreography for your dance, etc.
Let me start from the painting which I put in the shadow of the previous questions…my particular style of painting came from my deep interest in the tracing of bold lines on a white background.
‘Riccardo Matlakas ‘Pajama Party’ • 2018
Tell me about some of the ideas that you are researching currently?
I am currently into re-educating myself as I believe in this society the fundamental human education is still unknown in most places. I am trying to understand, and therefore, I am noticing in my work some kind of deconstruction and re-construction of what already exists. It’s an open playground, but full of responsibilities. Art and science have a lot to do with each other, so I try to look deep into myself in order to understand this. Meditation is a great tool, and after years of it, I feel it penetrated me very deeply after forging me positively. I have currently many ideas which will be applied when time and finance allow. I usually have the tendency not to say what I am doing as I would like to do it first otherwise it ends up being a blah-blah-blah.
How is the research manifesting itself in your daily artistic practice?
I am curious, I feel there is a lot to learn and to discover – everything manifests in terms of understanding first (in my head, imagination) and then through what I create, which can be a visible manifestation of my thoughts process, for myself as well.
When I revisit, I try to examine each component and if what I created is universal enough in order still not be entertainment but keeping universal, looking at the fundamentals for our growth.
Research is research, and it takes different forms, not only reading, but traveling, dreaming, having coffee and observing, fasting and observing, being still and observing, but also being distracted and observing myself being distracted…it’s all a huge research which manifests itself when I am aware.
Looking back across the oeuvre of your work, is there a defining work or period that you are most proud of?
Whenever I look back, I can see that I grew a lot as a human being and an artist, and feels good to see that I manage to do already so much. I don’t think there is any particular work, but for sure there are works which I find iconic for , and I am happy to share.
The prolific Spanish artist talks about balancing the practice of his work. From the wilds of the streets and the confines of the gallery.
In what she describes as her “anti-portraits,” artist Frederica Poletti works with obscured faces as a form of symbolism for defiance through anonymity.
Hypocrisy, tyranny and modern novelty will find no refuge from the discerning gaze of Serbian artist Aleksandar Todorovic.