"Epizoochory: dormancy" Photograph

Adamo Macri’s practice is best understood as an ongoing experiment in transformation—of materials, of the body, and of the very idea of what an artwork is supposed to be. He works fluently across sculpture, photography, painting, video, and drawing, but medium for him is secondary to concept. A piece might begin as a sculpture, pass through performance or bodily intervention, and finally exist as a photograph or video still. The boundaries between disciplines dissolve; what matters is the occurrence the work describes rather than any fixed, final form. Many of his projects feel less like objects and more like episodes in a narrative—chapters within a larger, evolving anthology of identity and metamorphosis. Macri has been awarded The International Prize Leonardo Da Vinci and The Phoenix International Prize for The Arts. His work has been featured in the volumes of Contemporary Celebrity Masters publications. Notably, his artwork ‘Nevermore’ was selected for inclusion in the prestigious Atlante dell’Arte Contemporanea Patron of The Metropolitan Museum of Art.

Medium and Methodology

Adamo Macri’s practice is grounded in a deliberate methodological process and a concept he calls over‑processing. He treats artistic mediums as an interconnected organic system, where each stage feeds the next. The work typically begins in the most modest way: with handwritten notes. Ideas are first captured as text—keywords, fragments, and detailed observations—which function as the conceptual blueprint for everything that follows.

From there, the process moves methodically through a sequence of mediums. Drawings develop the initial notes into visual form; a colour palette is then defined to establish the work’s emotional and atmospheric register. Next, sculptural objects and accoutrements are created and painted, building a physical vocabulary of forms and textures. Only once these elements are resolved and assembled does the photographic phase begin. The photo session generates multiple images, but the true “raw material” is the single, carefully selected photograph that will carry the work forward.

Even at this stage, the image is far from finished. Post‑production becomes another crucial layer of making: cleaning, retouching, subtracting or adding elements, and—above all—intensive colour correction. The camera is treated as having its own eye and bias; its output must be re‑aligned with the artist’s intention.