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 like 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.