Benjamin Mario Massa (*1992, Biel/Bienne, CH) lives and works in Olten, Switzerland.
His art focuses on the themes of introversion and high sensitivity. He talks about situations in which introverts are often misunderstood or not understood at all. On the one hand, this is due to the code of behaviour, which does not receive much understanding. On the other hand, the term ‘introvert’ is often used incorrectly - mostly as a synonym for ‘shy’. It takes many years of work to convey that introverts are not shy, asocial, lonely or boring per se. They are simply introverts. And that it's not about whether or not you feel uncomfortable in front of lots of people, but how you recharge your social batteries - alone or among people. Despite the fact that between 30 and 50% of people are introverted, they are not talked about or are talked about in a negative way. Quite a few people overplay their natural characteristics in order to fit in better with extroverted norms and social structures. Especially in the art world and its scenes, which present themselves as very open, there are many such strong rules of behaviour.
 

With his works, Massa seeks out and opens up spaces in which interaction with a single person (or with oneself) is possible. These are moments in which this kind of social contact is very much in the foreground. The basis for this are personal encounters and memories that are repeated in various ways. And which are also reflected in the stories of his fellow human beings, thus forming a kind of collective intelligence of introverts. The theoretical basis of his work is most strongly reflected in ‘Quiet: The Power of Introverts in a World that can't stop talking’ by Susan Cain. This book in particular made Benjamin Mario Massa realise how much unknowledge still exists. And how few people there are who address or talk about this topic.
 

The artist intentionally chose oil paint, which dries slowly compared to other techniques. It reflects the long-term process of mediation and sensitisation work.

His pictorial language with its strong colour palette seems to want to stand almost obtrusively in the spotlight, contrary to the subject matter. It craves attention and to be the centre of attention. In part, it is actually a playful way of dealing with the discrepancy between extroverts and introverts in groups at events or similar.  It is also a reference to the enormous stimuli and information that are sent out at such events.

In other ways, however, it also tells of an almost excessive desire to share. Like when an introverted person feels comfortable and wants to open up; and thus gets into oversharing. Thanks to the strong powers of observation, no facets of a description are left out of the narrative. As long as there is a secure feeling that the other person is really listening.
 

He is not afraid to say with striking works: I am introverted - and that's cool.
 

Despite the bold and vibrant colours, there is a melancholy or an unsettling calm in his paintings. You sense something deeper, serious, hovering in the room like a calm-before-the-storm. And yet you can't pinpoint where this feeling comes from.

While the colour palette screams or sings, the handwriting and content are in a state in which words are absent. As if everything verbal were redundant for this momentum of social coherence.

 

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So his works contain the questions of being understood, stereotypes, belonging and social acceptance.