Matteo Mauro presents a revival to the conceptualization of mirrors and their purpose in his most enticing artistic gesture yet titled “My First (Half) Hall of Mirrors.” Another flourished yield of his Baroque series, the installation is composed of chromed and varnished aluminum strips, dithered with ambrosial paint. The shift of focus from reflection to creation is a thoughtful marvel Mauro dreamt for this and it circumscribes a potential for visions and fantasy through the instrument of the mirror. Indeed, Mauro has ruminated the notion thoroughly to deduce that mirrors could catapult humankind into chasms beyond reality.
Reveling in the sight of the installation, the way the gold impeccably traverses the planes of nuanced Baroque and broadly reflects but then effortlessly divulging to viewers a sought after the existence-the artistic affair is indubitably staggering. Seeing his characteristic painting style in such an elaborate configuration attests to the multifaceted nature of his incredibly lucid body of work.
Mauro’s angle at the installation as a whole is a vigilant one, as he has cast aside any motives of marketability in order to endorse the highest standard of integrity for such craftsmanship. The artist intends to maintain the 60 strips of aluminum contained as a singular essence, because attempting to separate any part of it is simply impossible.
Mauro as the protector, he takes pride in bestowing such a grand artistic gesture as a sizeable entity. The entity is a means to another dimension of dreams and of matters, you won’t find in our reality. Adding to the experience, Mauro has incorporated a virtual reality device that encapsulates viewers further into the depths of Mauro’s first hall of mirrors. He likens the installation to a jewel, meant to be clad, meant to be immensely felt by the wearer. Matteo Mauro designed “My First (Half) Hall of Mirrors.” only to allude to, with the greatest certainty, that there will be another in the future.