Artist in conversation: Benjamin Massa
Benjamin Mario Massa explores with his work the highly sensitive and introverted part of a society. With the base of his perception Massa works on topics like relationships and the social interaction of human beings. In the process, subtopics such as closeness und distance, verbal and nonverbal communication, and sexuality mostly come in hand. His research leads him from empathic moments to overstimulation.
Massa works multimedial, whereas his focus on painting and sound installations lies. The approach on those two disciplines is astonishingly contrary. His sound installations are mostly a bundling or a reduction of stimuli to a few sounds. Almost like he is trying to create a room which is denied to him in life as a highly sensitive person: a non-overstimulating space. Furthermore it is an experiment on how people react to sound in space. Specially if the sound is nearly inaudible. It is like a challenge to the audience, but also a chance to get involved with just pure tones and sounds.
With painting, Benjamin Mario Massa challenges himself. He uses bright and luminous colours, which possibly goad each other. In this process he finds out, how far he can go or how long he can work, until the paint begins to blur in front of his eyes. The content of his paintings are usually memories of personal events.
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What initially inspired you to become an artist, and how did you develop your unique style?
I think it was (and still is) the opportunity of doing what I want to do. Being able to make my own decisions such as what direction I pursue, which topics I research and speak about, where and when do I work, etc.
Do you have any rituals or routines that help you get into a creative mindset when starting a new project?
Almost every time I start with playing some music and putting Italian coffee on the stove. It doesn’t matter whether I am continuing on a project or if I am trying to get an ideal mindset for new ideas.
Could you describe your creative process from conception to completion? How do you decide when a piece is finished?
The process starts usually unknowingly with a happening / social interaction that creates a memory. A memory that pops up every now and then, for the next days and weeks. When it has haunted me enough, I scribble a few sketches with colour pencils. However, the development of the colour concept would normally come in the next step. Finally, I start painting and observe where it takes me. Since the idea, the sketches and the paining are always quite different, I think, the artwork is finished when elements from all three are present in a balanced way.
How has your artistic style evolved over time, and what experiences or experiments have contributed to this evolution?
My artistic practice and style are in a slow but constant search and therefore changes. The most noticeable development recently is that I have moved from a sharp-edged style to a freer and deeper one.
Can you share a specific project or sculpture that holds significant meaning for you and explain its impact on the community?
“YEAH COOL” might be a fitting piece of art because it holds several aspects together. It contains personal points such as my habitus and what I am as a person; it tells stories and thus gives insights into my family. In addition, this artwork portrays the topic of introversion very well. And it does so in a double-edged manner. You can’t really figure out what this person feels like. Whether relaxed and safe or lonely and depressed.
How do you incorporate feedback from critics and audiences into your artistic practice, and how do you balance this feedback with your own artistic intuition?
Feedback is a valuable good. Especially if it is well thought out. It surely helps to see other point of views, but even more not to stay in a bubble of one’s own thoughts and believes. I welcome criticism.
How do you stay motivated and inspired despite any setbacks or creative blocks you may encounter?
Because I work on topics that concern me also in my private life, it can be very easy but also can stun me. When that happens, I need to go out for a walk. That helps to organise my thoughts. Then I remember all the conversations I have had with introverted people. They strengthen my urge to have this discourse.
How do you feel about exhibiting your artworks with The Holy Art Gallery?
I am excited! Further, I am looking forward to all the things that I will learn and that will come in motion.
Looking ahead, what are your long-term goals and aspirations as an artist, and how do you plan to achieve them?
I will continue to explore and thematise introversion and high-sensitivity. And I will keep on going further to establish myself in the artworld.
What role does emotion play in your creative process, and and how do you aim to evoke specific feelings or reactions from those who view your artworks?
Emotions are an essential part (especially those from the viewer). They are often a transmitter to a certain state of mind or perception.
