Belgian by birth, Vito Masi spent his early childhood and adolescence at Marchienne-au-Pont (Charleroi).
The Flemish masters magic, caught live in museums and studied in school textbooks, enchanted the artist since his childhood:
his sensitivity was nourished by evanescent and rarefied atmospheres and by the crepuscular fascination of North European modern art .
The first stages of the artistic and expressive research led Vito Masi to be inspired by the early 1990s great painters; he interpreted and translated, in an intensely personal way, their absolute power of colour and the dynamic cut of the form.
The artist was still young when he moved to Italy where he started his learning process that soon led him to master pictorial art and specialize in technical studies which will be essential for the spatial construction of his works. His first artistic experiences attributed a leading role to the human figure that often stood out against the backgrounds and geometric contexts echoing quivering lines and futurist dynamism.
The artist’s first turning point, at that time distinguished by an accurate matter research of his painting and a powerful chromatic characterization, was clearly visible in two temporary exhibitions. The first exhibition was hosted in the Archeological Provincial Museum of Potenza in October 1999 and the second one in 2001 was held in “La Scaletta” a Cultural Circle in Matera. Vito Masi was already mature to withdraw from a sort of “pictorial remake” and from his previous approach to figures: he built a pictorial style where the abstract component prevailed and the construction became lyric/informal with images caught in their sensorial complexity.
Recently, the artist has reached a summa of his previous experiences concerning informal abstractionism with the experimentation of numerous materials, from plaster to stucco, diluent bitumen and graphite (2008), up to the evocative works of digital photography with shots in atelier, of medium or big size, glued on stiff multilayer using different treatments (diluent bitumen, chalks and graphite) giving them a typical “earthy” veil.
Vito Masi shows his complex personality in the latest works recalling crepuscular emotions which have struck his childhood, anxieties, turmoil and restlessness of a deep and eclectic soul.
The queen ruling almost all of the compositions is Melancholy that mixes sadness and introspection, inner relapse and discouragement that leads him launching himself in other contexts and other bodies like a human being having a “deep desire in his soul, of something, of a person never known, of a love never had whereof you intensely regret the lack.” (Qn.)
The paradigmatic images in Industrial Archaeology provide the ancient knowledge of a soul withdrawing into the past, of a sensitivity that has kept all the mood of the Belgian Pays Noir looking at the flow of time with a veiled sadness, sharing northern drives of uncertainty and human being’s complexity.
Melancholy is nearly made palpable like a fil rouge of the work and of the artist’s way of being and feeling, a sadness, looked after with modesty and sensitiveness, appearing as a defined and evanescent subtext at the same time in extreme “determined” forms becoming pictures in the artist’s hands.
Melancholy becomes the expressive current related to ancient art and to the way of feeling art becoming one with the artist’s feelings, a communicative and credible instrument in a society, based on “super communication”, that is unreasonably a society of total aphasia; Melancholy as prophetic and atemporal interpreter of a mutual emotion.