Intro:
Mattia Cuttini’s practice unfolds in a state of perpetual experimentation. Nothing in his work seeks stability: tools shift, materials mutate, and aesthetic directions expand, collapse, and reconfigure themselves with remarkable fluidity. His trajectory is less a linear progression than a continuous movement, a field of tests, attempts, ruptures, and reinventions.
Having known him for many years, I have seen how this constant experimentation is not a stylistic choice but a defining condition of his artistic identity. He moves through disciplines the way others move through sketches: with curiosity, urgency, and a willingness to let each medium reveal its own possibilities. Paper, ink, digital fragments, typographic forms, algorithmic interventions; everything becomes material, everything becomes language.
What distinguishes Cuttini’s work is the way these shifts do not disperse his voice but sharpen it. Beneath each transformation lies a coherent impulse: the desire to understand what an image can become once its structure is questioned, stressed, or pushed beyond familiar boundaries. His pieces often carry the rawness of process — cuts, overlays, distortions, traces of tools — as if the work itself were documenting the act of its own formation.
In this sense, Cuttini does not treat experimentation as a method, but as a condition of being. His practice inhabits the space where intuition meets material resistance, where the image emerges not from planning but from a dialogue with the unpredictable.
His art is not the search for a final form, but the continuous discovery of what form can endure.
Mattia Cuttini’s art reveals a visual language grounded in construction, interruption, and transformation.
Through his use of analog traces, digital interventions, and layered surfaces, the act of making becomes a process of reconfiguration, shapes shift, align, break, and reform. The image does not present itself as a fixed entity, but as a field of relationships where tension drives meaning forward. Paper fibers, ink densities, cuts, and overlaps all contribute to a sense of ongoing negotiation inside the frame.
Each piece stands as a moment where structure and disruption intersect: a place where precision accommodates unpredictability, and where the visual system adjusts to the pressure of its own gestures. What remains is not a singular form, but the evidence of a form in motion — a diagram of how an idea takes shape, alters itself, and continues to evolve.
Cuttini’s work demonstrates that composition is not an endpoint but an active state — one in which the image thinks through itself, experimenting with the very conditions that hold it together.
A personal selection — not of preference, but of resonance.