Soulful Frames:
Igor Mattio
HeyBoy Exclusive
Soulful Frames:
Igor Mattio
HeyBoy Exclusive
Artist: Igor Mattio
USA
HeyBoy Exclusive
*Contains Tasteful Nudity
All models 18+
Q) Can you tell us about the transition from using photography as a tool to it becoming your primary medium?
A) During the 1990s, the art world was rife with debate over photography’s legitimacy as a fine art form. The reproducibility of photographs raised questions about originality and authenticity, key concepts in the fine art world. This debate intensified with the advent of digital photography and the possibilities it introduced for manipulation and mass production.
Most of my professors at the Academy dismissed photography as a lesser medium, a viewpoint I began to challenge after encountering Robert Mapplethorpe’s work, perhaps in Philadelphia. At the time, I was splitting my time between Europe and New York, and I vividly recall the uproar surrounding the closure of his Corcoran Gallery exhibition and subsequent funding cuts to the National Endowment for the Arts.
Whether my deepening commitment to photography was a direct rebellion against these narrow-minded views, I cannot say for sure. However, it was during those years that I solidified my conviction that photography was not only a valid art form but a superior one.
Beyond the philosophical considerations, there was a more pragmatic factor at play. Working with toxic solvents, bitumen, and tar in my DUMBO loft, even with a protective mask, had become unbearable. The fumes were simply overwhelming.
Q) The image “Richar’s Flower of Choice” is a tribute to Sally Mann. What does this piece mean to you, and why did you choose to honor her in this way?
A) My introduction to Sally Mann came through a 1994 New York Times article, coinciding with my permanent move to the city. Captivated, I bought the book “Immediate Family” and discovered an artist whose work struck me with its raw elegance and wild naturalism.
Mann’s subjects, particularly her children, were captured in moments of rural summer life – black lakes, distant farms, everyday scenes that stood in stark contrast to my own childhood. The raw, unbridled energy of their world was a far cry from the sanitized, predictable environment of my own composed aseptic childhood. Her sharp, unfiltered approach to photography was instantly arresting. Mann’s lens captured the beauty of chaos, the elegance of imperfection, and the freedom of the unstructured – all qualities that resonated deeply with me.
Years later, I attempted to acquire one of her works at auction: “Equivalent Number 1 (Moon Flower)” from 1985. The square image, presumably of her son Emmett’s torso, features a long sepal with closed petals resting longitudinally on his stomach. The flower’s tip evokes the boy’s foreskin in an elegant visual rhyme of natural forms. Regrettably, I lost the bid.
Inspired by Mann’s work, I later recreated the scene during projects in Bogotá and Medellín. Working with adult models, my version lacks the original’s disruptive edge but stands as a tribute to Mann’s artistic vision.
Q) Your compositions often tell a story. How do you conceptualize these narratives, and what role do the models play in bringing them to life?
A) My compositions are stories, blending the lives of my models with moments we share during shoots. These images are both a trigger for memories and a testament to them, magnifying recollections while simultaneously preserving them. Yet, I’m deeply aware of memory’s fickle nature – it’s not a meticulous archivist, but a storyteller prone to embellishment, colored by the full spectrum of human emotion.
This awareness – that memory is an unreliable narrator, warped by time and sentiment – informs my photographic approach. I don’t use the medium to capture objective truth, but as a launchpad for interpretation, a justification for details that blur the line between reality and fantasy. Each image becomes a visual prompt, inviting viewers to project their own stories onto the canvas I provide.
The models themselves are central to this process. I strive for a unique chemistry with each subject, a tension bordering on intimacy, love. This connection is crucial, allowing me to capture not just physical forms, but souls in motion. It’s a delicate dance, requiring vulnerability on both sides of the lens.
This philosophy starkly contrasts with the world of fashion photography, where garments are the focus and human figures mere mannequins. I invert this paradigm – the model is the protagonist, their story the narrative, and any clothing is a barrier to be shed, not showcased. Even in collaborations with professional models, where the results were undeniably compelling, I felt the constraints of commercial demands clashing with my artistic impulses.
My goal is to strip away – both literally and figuratively – the artifice that obscures the raw human experience. Each shoot is an excavation, rummaging beneath the surface to unearth deeper truths. The resulting images are not mere representations, but gateways to a realm where memory, emotion, and imagination intertwine, inviting viewers to explore the fluid boundaries between what was, what could have been, and what might yet be.
*Juan Sleeping
Q) With a background in painting and marble sculpting, how do these disciplines influence your approach to photography?
A) The influence is immense. My understanding of the human form – muscular structure, veins, and postural nuances – stems directly from my study of drawn anatomy and marble sculpture. In digital post-production, I often accentuate or even create muscular details that may not exist in reality, but which emphasize a lyrical thrust or dynamic movement in the image.
My background in painting profoundly shapes how I approach backgrounds – skies, seas, clouds, and trees. These elements in my photographs owe much to my training as a painter. I do not call myself a photographer.
While I’ve worked with bodybuilders whose physiques verge on the unnatural, I prefer models with more typical builds. These subjects, with their natural musculature, align more closely with my aesthetic vision. I’m drawn to organic structure rather than exaggerated muscularity – a visual concept rooted in American gay culture that has, regrettably, become globalized.
My work often juxtaposes these different body types, creating a visual dialogue between the natural and the cultivated form. This approach allows me to explore and challenge prevailing notions of beauty and physicality in contemporary culture.
Q) Beauty and visual harmony seem central to your work. How do you define beauty, and how does it shape your art?
A) Growing up in Italy, beauty was essential. It’s a daily need for me, bringing serenity and inspiration. Surrounded by art at home, I’m constantly reminded of its power.
In my work, I aim to capture and convey this sense of beauty and harmony. It’s about evoking emotions and crafting compositions that resonate. My models are integral, their genuine expressions and movements crucial to achieving visual and emotional harmony.
Beauty is also about storytelling, capturing moments that reflect both inner and outer worlds, creating narratives that are both personal and universal.
Q) The photo “Juan Sleeping” has an interesting backstory involving Edmund White. Could you share more about your admiration for him and how it influences your work?
A) Edmund White is an author who deeply moves me with his ability to evoke vivid imagery through his writing, especially when he’s describing New York. It’s incredible how he transports me into his stories, transforming his words into pictures in my mind. Of course, I don’t know if the images I imagine are the same ones he envisions, but that hardly matters. He has this remarkable talent for sparking my imagination in a way that feels incredibly vivid and real.
Weeks ago, I sent him a folder with some of my images, hoping he might channel this talent in reverse, to translate my photos into words. But, being the wise and prolific author he is at 85, he politely declined, preferring to focus on his own narratives. And who could blame him?
So, in a playful homage to the master, I hatched a cunning ploy. I bombarded a model, Juan, in stories taken from White’s books, testing his reading endurance with “Our Young Man.” A few images emerged – a siren song, a blatant attempt to lure Edmund White into the world of image-to-text transmutation. Will it work? Likely not, but I had to try!
In the meantime, White’s work continues to be a significant influence on my artistic journey. His unflinching honesty, emotional depth, and keen observation of human nature resonate deeply with me and inform my approach to photography. I strive to emulate his ability to tell stories through images, to capture not just the surface appearance of my subjects but also their inner lives and the emotions that connect us all.
Q) Could you tell us more about your upcoming book, “Skin and Under”? What can readers expect, and is there anything special you’d like to share about it?
A) “Skin and Under” is the first in a series, a visual narrative across 20 chapters, each capturing a day of photographic work. The subtitle ‘Evolving Young Machos. Or Not’ hints at the journey. I photographed in various Colombian locations – Medellin, the beautiful mountains of Manizales, a coffee factory in Chinchiná, Bucaramanga, and Bogotá – but felt something was missing. So, I embarked on a trip with two models to the Italian Riviera and French Provence, adding new dimensions to the project. This experience infused the final six chapters with fresh energy and discoveries.
Traveling with models can be challenging, At times, the tension between the two models escalated—resulting in fleeting arguments—the photographs accurately reflect what transpired. However, this trip was a pleasant surprise, filled with exciting moments and photographic opportunities. In fact, I’ve learned that my best trips have been solo, with two, or four people – so I’ll keep that in mind for future adventures! All in all, I’m very pleased with the final result.
For my next project, I’m drawn to France, Ukraine, and Russia. I admire France’s strong national identity and resistance to cultural homogenization. French cinema and thinkers like Baudrillard, Derrida, and Barthes inspire me. I’m excited to potentially collaborate with French models, merging my artistic vision with their unique cultural perspective.
Ukraine holds a special place in my heart, with memories of my youth in Kiev, where I experienced my first crush at 14 during the Soviet era. However, with the current war, planning projects there feels impossible, and focusing on artistic beauty seems insensitive when the country’s freedom is under threat.
Q) Collaboration is a significant aspect of art. If you could collaborate with any artist, past or present, who would it be and why?
A) The idea of artistic collaboration ignites my imagination, though it raises intriguing questions about the nature of such partnerships. Would it be a collaboration between equals, or would I assume a more subordinate role? In my mind, I can only envision the latter, especially when considering truly great artists.
If I could collaborate with any artist, it would be Pier Paolo Pasolini. I feel a deep spiritual and intellectual connection to his work, and I’ve had the privilege of dining with people who knew him personally. These intimate conversations have left me with a sense of creative and philosophical harmony with Pasolini’s vision.
His unique blend of poetic vision, cultural critique, and cinematic innovation resonates deeply with me. I’m drawn to his ability to balance intellectual depth with emotional authenticity, and his commitment to exploring the human condition through art.
However, I hesitate to even imagine the level of collaboration possible with such a luminary. In reality, I believe my role would be primarily that of a learner, absorbing his profound insights and unique artistic vision. What fascinates me most, based on what I’ve been told by those who knew him, is that despite his immense cultural depth and intellect, Pasolini possessed a disarming simplicity in his interactions.
Q) Your process has evolved significantly over the years. How do you balance innovation with staying true to your artistic roots?
A) My artistic journey has been a continuous evolution, shaped by diverse cultural influences and personal experiences. Balancing innovation with my artistic roots is a delicate process that I approach with both reverence and curiosity.
Innovation comes through my exploration of new techniques, especially in digital post-production, and my constant engagement with contemporary artists and photographers. I see innovation not as a departure from my roots, but as a way to reinterpret and expand upon them.
For instance, my background in painting and sculpture informs how I approach digital manipulation of photographs, allowing me to accentuate details or craft backgrounds that blend reality with imagination.
Ultimately, I strive to create a symbiosis between my foundational experiences and new influences. By allowing my work to evolve naturally through cultural immersion and collaborative experiences with models from diverse backgrounds, I aim to push boundaries while staying true to the core emotions and ideas that initially inspired me to create.
Q) Art can often be a reflection of the artist’s personal experiences. How have your life experiences shaped your artistic journey?
A) My life has been a tapestry of diverse experiences, woven into the fabric of my art. Growing up in Italy, surrounded by beauty and visual harmony, instilled in me a deep appreciation for aesthetics. My extensive travels to places like Iran and Afghanistan, with their stark contrasts and rich textures, have informed the raw, emotive quality of my work.
Though not a writer myself, my love for literature fuels my approach to visual storytelling. The power of words to evoke imagery and emotion translates into my photographs, where I strive to create narratives that resonate on a deep level.
My art is a visual dialogue between my Italian roots, global travels, and literary influences, filtered through my personal experiences. It explores universal themes of beauty, identity, and connection.
Q) Finally, what’s a little-known fact about you that might surprise or amuse your audience?
A) I’ll share two secrets with you. First, I’m not fond of being photographed. You can find me in only two photos: my profile icon due to Meta’s verification requirement and a composition with two other models, taken for a project. That’s it – I prefer being behind the camera!
Second, on set, things can get interesting. During a multi-day shoot, two models got a bit too affectionate with each other. Let’s just say I had to edit out more than just mosquito bites from the photos. I had to digitally remove evidence of their love bites, scratches, and other “love marks.” I jokingly called one Hannibal Cannibal, and he proudly claimed to have created a third nipple for his partner. I guess that’s one way to leave a lasting impression – or a mark that’s a bit too permanent!
