Archie Hayes 
Riccardo Mayr born 1970 in Ferrara (Italy) is a self-taught painter.From the very beginning during the nineties, he concentrated his attention on odd materials as rust, charcoal, ash, direct, iron and mirror debris.The areas of his paintings are primarily searching for motives behind the pure action of painting and artwork functionality, that has, given new technologies and their frequent use, become funny. The discipline of the matter Today, talking about imagination is catchy. Creativity has become closely tied to the economics of the art market. It has become increasingly difficult to separate the creative process from the financial net where an artist functions. Nevertheless, an artist may attempt to express himself by distancing himself from the digital dynamics of this marketplace. For Riccardo Mayr, such a distancing procedure entails both an energetic pursuit of their physical essence of a topic in addition to a rejection of its own marginal or maybe accidental attributes. How do the essential qualities of a subject be isolated and digested through the creative process? How do its countless components be identified and selected to be able to reveal the core of the topic? The creative act is not solely dictated by an artist’s inner impulses but, instead, it has to permit a responsiveness to an outside physical logic. This process involves a shifting away from mechanical reproduction of standardized goods (usually an unquestioned indication of “competence”) towards a procedure which allows physical components to mingle without restraint. He pursues this meaning through active physical participation in the creative process. In focusing on physical nature, Mayr reasserts materialism as a means to reveal the essence of a subject. In this opinion, the material corresponds to the organic””out of electrons, to mobile matter, to bodily structures. Neither the motion of the dance nor its result can be predicted or replicated. This style of painting lends itself best to the use of materials like charcoal, rust, ash, shattered mirrors and bits of paper. The past and the significance of the materials are shown on a surface which has gained depth, confirming their own presence, one which cannot be completely controlled. According to the laws of physics and in proportion to their weight, materials fall onto the canvas, initially melting slowly piled on the surface, where they appear visible but not always recognizable. In the long run, the surface” frequently having been the scene of responsive chemistry” belies the complexity of the creative process. I am presently working on a brand new set of paintings partially regarding the recent new revived interest in space exploration as demonstrated by the newly successfully ongoing probes missions.
