Adamo Macri, an artist from Montreal, navigates multiple mediums—sculpture, photography, video, painting, and drawing—using his work as a lens to explore identity, nature, and human existence. His art often straddles the boundary between the self and the creation, merging the two into one fluid concept. He does not just make art, he becomes part of it, creating evolving narratives rather than static images or objects.
Macri’s approach involves incorporating his physical body into his pieces, effectively using it as a canvas or a medium itself. Transformation is a recurring theme in his work, where he often alters his own appearance to craft stories. This personal metamorphosis, central to his creative practice, means that each piece feels less like a finished product and more like a moment captured in an ongoing journey. His artworks function as chapters in a broader, unfolding narrative.
One example of his thematic exploration is The Lure (2023), a photograph that is part of his Jahrfish project. This piece ties together different elements of his past works, focusing on the themes of mutation and identity. The image shows a metallic face mask that resembles a fisherman’s lure—a metaphor for how humans are attracted to things that can ultimately harm them. The connection between nature, identity, and transformation is key to the symbolism in this work.
Macri’s focus on self-portraiture takes on a unique dimension. In his view, the self-portrait is more than just a form of artistic expression; it is a chronicle of the artist’s changing identity. What makes his approach different from traditional self-portraiture is his constant, natural physical evolution, which appears without deliberate manipulation. This ongoing transformation provides him with an ever-shifting identity, one that challenges traditional perceptions of self-representation in art.
In The Lure, the use of masks adds another layer to the question of identity, as the artist hides behind various facades. This shifting persona keeps the viewer guessing about who the artist truly is, and Macri embraces this mystery. To him, the process of creating art is vulnerable, like performing an intimate song in front of an audience. It requires openness, both emotionally and artistically, and he sees his art as an extension of that exposure.
Another significant work in his portfolio is Carnevale (2022), a photograph that also focuses on identity, perception, and tradition. The mask used, by Pasubio (2018), has birdlike features and connects to the history of a particular region. In this piece, Macri plays with the idea of sight—using eyewear as both a literal and symbolic mask. By concealing the eyes, he invites questions about who is watching and how perception shapes reality. The mask becomes a tool to question the gaze and explore what is hidden from view.
In these works, Macri avoids direct eye contact with the viewer, opting for a subtle glance off to the side. This indirect gaze fosters a curious tension, allowing those who observe his art to feel like they are peeking into his world without crossing boundaries. This sense of voyeurism plays a significant role in his work, prompting viewers to examine their own feelings about observation and judgment.
Macri’s creations do more than engage visually—they encourage deep reflection on identity, transformation, and the artist’s role in contemporary society. Rather than seeking fame or self-promotion, he considers himself a vessel for deeper thought, using his art to encourage reflection and conversation. His work often delves into societal issues, but it always remains rooted in personal expression.
As Adamo Macri continues to explore the boundaries of identity, his evolving art pushes both himself and those who encounter it to question the essence of self. Whether it’s through the metallic allure of The Lure or the layered symbolism of Carnevale, his work invites us all to reflect on our own transformations and the roles we play in the world around us.
