Matteo Sullivan RED Bio Art criticism Art interviews Art resume 20/01/2022 – 08/02/2022 Kent Street Gallery, Victoria Park Centre for the Arts, East Victoria Park

RED The premise of a good painting, in addition to the knowledge of colours, is knowing how to draw and paint from life without tricks, especially creating in the modern era where even a beginner, with the use of photographic techniques can create paintings that astound those who are unaware of painting techniques but in reality are not far from the sheets or canvases for children “paint by numbers”. Painting from life and in a limited space of time, trying to be contemporary and innovative, is not a simple thing but thanks to the kindness and patience of some non-professional models, I managed, even if in a rather long period of time (1996 -2017), to create “Red”, this portrait exhibition, presented for the first time in Victoria Park, Western Australia, today in 2022. “Red” because the initial choice was towards rather red-haired girls but in Milan, where most of these paintings have been painted, they are rare, so I then moved on to the other hair colours. Furthermore, painting people with red hair in oil is simply easier, because the shades and contrasts are simpler, while with blond, brown or black hair you always risk getting a flat mass. The red hair, however, also merges with my interest in anthropology, in fact we know that this gene belongs to both the Celts and the Neanderthals, perhaps two separate mutations, perhaps not, in fact the ancient Celts that essentially invaded almost all of 'Europe, force of things are those who mostly mixed with the genes already of the Neanderthal-sapiens hybrids, present only in Europe. The fact that Sapiens-sapiens men, coming from Asia and in more ancient times most likely from Africa, had mixed with Neanderthals (scientifically defined as Homo sapiens neanderthalensis), had already been theorized in the past but recently the study of DNA has confirmed it and thanks to this, we know Caucasians have an average of 2% - 2.5% and that 20% of Neanderthal DNA survives in modern humans. So my reflection for what concerns the Europeans, that is the Caucasians, is that the most appropriate common definition should be "Neanderthal-Sapiens" and not simply "Sapiens" (scientifically defined Homo sapiens sapiens) or "Sapiens-Sapiens"; The problem is "political", because Neanderthal, which is simply the name of a locality, is a name that gives chills to some, while "sapiens" means “that knows”. And here is triggered the mental mechanism that has generated a culture, that is to think that since a certain type of man has been called "Sapiens", he must be wiser, more intelligent, than his predecessor with whom he was then mixed, the Neanderthal. But I theorize here, writing it for the first time, that the opposite may also be true, that is, that Neanderthals were more intelligent than Sapiens and that perhaps they reproduced less than their very distant Sapiens cousins, because they had evolved mainly in the cold and therefore, due to the scarcity of resources, they had fewer children and therefore the genes of the Sapiens prevailed generation after generation. The second step of my theory is that the Neanderthals, in addition to having endowed the Caucasians with an average intelligence superior and second only to the Asians (who have the DNA of the Denovisians, first cousins of the Neanderthals), also transmitted to modern Neanderthal-Sapiens a strong dose of creativity and ingenuity. Thanking for their time and kindness: Alessandra Bolla, Giselle Carnemolla, Merja Kajula, Marika Lionello, Marianna Maggi, Morena Margoni, Simona Milesi, Barbara Mulassana, Simona Muscarà, Greta Pretese, Laura Scavelli, Annette Stephensen, Benedetta Tagliaferri, Marianne Timmers, Regina Trinkl, Kristyna Vytlaciova. Biographical note Matteo Cornelius Sullivan, born in Milan, Italy, is an Australo-Italian international artist winner of fourteen art-awards who exhibited his works in one hundred and fifty art-shows, including twenty-six solos and one public artwork, is also known to be the first artist to invade the edges of the canvas and have been noted by art critics for his wild creativity and defined a superealist as diametrically opposite to the surrealists. Also a writer, with twenty-nine books and booklets published, freelance journalist, with articles published in twenty-four magazines, newspapers and on the web, professor for thirty years, Italian speaking tour guide in Western Australia and Chairman of three monarchist organizations and one artist’s group. Immagini e luoghi Incontri di Cronache d’Arte A cura di Teodosio Martucci Sullivan – Galleria San Michele A personal exhibition of the painter Matteo Sullivan took place at the Galleria San Michele in Milan from 8 to 24/4. His images are characterized by an ironic surrealism in which "historical" representations, scenes taken from the mythology of "Horror" are visually transformed by a free deformation between the fabulous and certain ancestry of comics. Intense and lively the expressionist intervention of colour that gives communicative energy to the artist's painting. A language, that of Sullivan, therefore, of authentic creativity, attentive to the needs of modern linguistic tension as well as to the refined and good-naturedly caustic spirit of true humour. “ARTECULTURA”, Milano, Giugno 1992 IMPORTANT SUCCESS OF THE PAINTER SULLIVAN The artist known by the readers of "Nuove Sintesi" also as a collaborator of the newspaper itself, wanted to call this exhibition "Pseudo-tonic Surrealism": even if this label was born by chance, with a purely playful intent, it is possible, through a philological exercise, recover a meaning, if one reflects (reading, perhaps better, "Pseudo-Surrealism") on the improperness of the term "Surrealism" (literally "sub-realism ") applied to images full of ideal contents that are typical of this painter, and we want to play on the ambiguity of the double meaning of the adjective "tonic", which has a technical meaning, referring to those lively (almost to say "timbre"), or it can be understood in a metaphorical and moral sense, to indicate a painting that it pulls us up in tone, which wants to give us back courage and serenity. In fact, in Sullivan's paintings, although rich in imaginative combinations, we are far from the reduction of the superior aspirations of man, intellectual and spiritual, simple and sometimes unspeakable projections of the unconscious, rather than the Surrealists (those Ernst, Manritte, Tanguy, Dalì, or even the Italian Savino ...); vice versa, through references to the ancestral wisdom of fairy tales rather than to the dark oneiric visions, we are explicitly proposed high and demanding ideals: here are the recurring themes of royalty in its many aspects, of the noble and generous world of medieval chivalry, of a humanity that can jump, free, from one peak to another, because it has been able to ascetically free itself from conditioning. Therefore, applying the terminology of the Austrian art historian H. Sedlmayr, "Surrealism", since, as the quoted author wrote, <>, while <>. Giuseppe Manzoni di Chiosca “Nuove Sintesi”, Milano, 1995 “Dizionario Enciclopedico d’Arte Contemporanea 1995/1996”, Casa Editrice Alba, Ferrara, 1995 MATTEO SULLIVAN “… A magical realism that of Matteo Sullivan, a young artist who places his research oriented towards metaphysical compositional values. An inner investigation, a profound sense of mystery enclose his works...” Francesco Chetta “Omaggio al Carnevale”, Catalogo del Concorso, Città di Casalpusterlengo, Febbraio 1996 Immagini e luoghi Cronache d’Arte A cura di Teodosio Martucci SULLIVAN Matteo Sullivan is a painter with a balanced visual language. In his paintings of distant Surrealist ancestry, fantasy and psychology of allusion are integrated into a complete and clear representation that satisfies the rationality of the intellect and the fantastic spirit of the imagination at the same time. “ARTECULTURA”, Milano, Giugno 1996 MATTEO SULLIVAN When creativity wakes up in the space that runs through the perceptual process and meets a spirit that has forgotten the boundaries imposed on the Human gaze, it accompanies that spirit through a surprisingly unusual, fascinating path. Each painting by Matteo Sullivan is a symbol, an almost magical instrument of access to worlds beyond the worlds, to which each of us is connected: if it is the eye of the soul that looks at them, the works vibrate with an almost unsustainable form of reality, transporting into the recesses of emotional memory, and at the same time amaze and bewitch thanks to the subtle and non-conforming talent of the artist, who captures who knows how to rely on the gaze of those who have always lived art as an inevitable means of listening to the inner reality and space for communication with the controversial external reality. Gloria Vimercati POSTACATALOGO Artecultura SULLIVAN Matteo Sullivan is a young artist who in recent years has been enjoying particular critical and public success as evidenced by some of his recent solo shows. He practices both painting and engraving and sculpture with a personal language, imbued with moods and emotions that in some respects could be considered neo-surreal. His goal is not pure and simple representation but expresses the interiority of the feeling. In this sense, the form is not related to a definitive stylistic solution but is penetrated by an organic symbolism and involving expressive force. “ARTECULTURA”, Milano, Ottobre 2000 IL CORRIERE di SESTO 27 Novembre 2001 … to the painter Australo-Italian MATTEO SULLIVAN Artist and Gentleman The artist Matteo Sullivan by Alessio Primavesi We are pleased to host on our pages the thirty-six-year-old Matteo Sullivan, a valid painter and monarchical political ideologist. In his endless curriculum there are, among the many initiatives, as many as 19 personal and 10 important political positions (he is currently the leader of "Monarchist Alternative"). The art critic Giuseppe Manzoni di Chiosca - brother of the famous artist Piero Manzoni - contrasted Sullivan with Surrealism, that is, with sub-realism - under reality - calling it super-realist - that is, above reality -, because it proposes elevated ideals and challenging. Let's meet Matteo Sullivan and get closer to his world: "How did your artistic career start? Expressing, through colour and beauty, what are my thoughts, ideals and emotions. Where did your political ideals come from? My thinking is crude and clear at the same time because it has not been boiled by the false ideologies of the modern era, therefore, it can be said that they simply arose from the inner strength of tradition that makes every man free to be himself. Why can one be a monarchist? I think that every age has the king it deserves and I have seen the republic, because this age has degenerated. Is there a deed, in the political or artistic field, of which you are particularly proud? There is more than one, but in particular, an art competition that I organized - "Charlemagne" - which we combined the artistic and political aspects: the artists painted the King - theme of the competition - in an ideal way. It was a cultural success! What is your definition of "Art"? Art is what conveys emotions or ideas through beauty. I reject today's conception that defines "Art" anything with the use of mastered words. When the word prevails - in the visual arts - contemplation, it is literature for commercial purposes. Do you want to send a message to young people who want to take the path of art? Before you want to become an artist, I recommend that you internalize the values of humanity, because an artist, who is not first a man or a woman, is just a mask. " Più Allegato a “L’Osservatore” di Torino 3-9 FEBBRAIO DUEMILATRE Paintings in monarchical colours Alessio Primavesi valid painter and monarchical political ideologist. In his endless curriculum there are, among the many initiatives, as many as 19 solo exhibitions and 10 important political positions (he is currently the leader of “Alternativa Monarchica”). The art critic Giuseppe Manzoni di Chiosca - brother of the famous artist Piero Manzoni - contrasted Sullivan with Surrealism, that is, with sub-realism - under reality - calling it super-realist - that is, above reality -, because it proposes elevated ideals and challenging. Let's meet Matteo Sullivan and get closer to his world: "How did your artistic career start? Expressing, through colour and beauty, what are my thoughts, ideals and emotions. Where did your political ideals come from? My thinking is crude and clear at the same time because it has not been boiled by the false ideologies of the modern era, therefore, it can be said that they simply arose from the inner strength of tradition that makes every man free to be himself. Why can one be a monarchist? I think that every age has the king it deserves and I have seen the republic, because this age has degenerated. Is there a deed, in the political or artistic field, of which you are particularly proud? There is more than one, but in particular, an art competition that I organized - "Charlemagne" - which we combined the artistic and political aspects: the artists painted the King - theme of the competition - in an ideal way. It was a cultural success! What is your definition of "Art"? Art is what conveys emotions or ideas through beauty. I reject today's conception that defines "Art" anything with the use of mastered words. When the word prevails - in the visual arts - contemplation, it is literature for commercial purposes. Do you want to send a message to young people who want to take the path of art? Before you want to become an artist, I recommend that you internalize the values of humanity, because an artist, who is not first a man or a woman, is just a mask. " MULTIMEDIALE CONTEMPLAZIONE Also published on: 03/02/2003 La Gazzetta – Torino; 03/02/2003 L'Osservatore – Asti; 03/02/2003 Più - L'Osservatore Novarese – Novara INTERVISTA DI DEVIS MAIDO’ A MATTEO SULLIVAN FONDATORE DI ALTERNATIVA MONARCHICA R.N.C. in Blu – Vip a Vip – Nichelino Torino 21/11/2003 Does your artistic activity take place overseas? Yes, even abroad, especially in Australia and other European countries, but especially in Australia because I have lived there for many years. What does your artistic activity consist of? My artistic activity is mainly pictorial and it is very colourful I would say. In your opinion what is the most expressive art form? In my opinion, painting and apart from painting, theatre even if I don't understand much about it, because unlike cinema, theatre is more interpretative. Monarchist figures often recur in your works ... I am a monarchist and I have done some works that dealt with this topic trying to see various facets, not just the oleographic or historical part that is part of this ideal. I think the reasons for this idea of mine are due to the fact that I am a traditionalist and then because I have seen the republic which is the verticalization of politics so I do not agree with it very much. Question about the Savoy ... controversy about the return! Surely they owe to me the fact that they returned to Italy without having to swear. You sent a press release to the newspapers ... Yes, it dates back to 1997 and in this press release I solved an issue that was going on in Parliament and in truth it was pure spirit of controversy. In parliament it was said that to return to Italy he had to swear to the republic, but I argued that it was not necessary because he would not go to hold any state office. It seemed logical to me but no one said it and the newspapers published this statement in the form of a letter. I think at the very least they will have to make me Duke. Yours is a family of artists ... has someone passed on to you the passion for art? Well yes .. my family is full of artists and surely someone will have passed it on to me. I think I also had this passion in my blood and both things go well together. Any upcoming shows? It is not yet fixed, but I am completing the pieces of a project that I have been taking care of for many years, that is to show the woman through portraits in which I colour what they transmit to me. The figure that recurs most in your works? The medieval cavalry. Re-transmitted: 06/12/2004 Arte & DINTORNI Giovedì 29 gennaio 2004 Il settimanale della creatività e del buon gusto anno 2 numero 4 – euro 1 14 GALLERIE Arte & DINTORNI Interview with the painter engaged in Italy and abroad between painting and political passion Sullivan, avanti Savoia! A very talented artist, Matteo Sullivan has recently returned from another long stay in Australia where he worked as an artist and tour guide. He founded the Party of the Monarchical Alternative last month. His art is eclectic. Where does your artistic activity take place? “In Italy but also abroad, especially in Australia and in other European countries, but above all in Australia because I have lived there for many years. My artistic activity is mainly pictorial and it is very colourful I would say". In your opinion, what is the most expressive art form? “In my opinion, painting and apart from painting, theatre even if I don't understand much about it because unlike cinema, theatre is more interpretative”. The figure that recurs most in his works? “The medieval cavalry. I have created some works that deal with this topic trying to detect various facets, not just the oleographic or historical side that is part of the monarchical ideal”. We know of his "indirect" involvement linked to the return of the Savoy family. They owe me the fact that they returned to Italy without having to swear to the republic. At the very least they will have to make me Duke. In '97 I sent a letter that the newspapers published in the form of a letter - in which I resolved a question that was going on in Parliament: it was said that to return to Italy the King would have to swear to the Republic, instead I argued that, not having to hold any office state, he would not have been obliged. A logical reasoning that, however, no one had formulated”. "Why Monarchist?" is the title of a book by him, and it is the question we ask you: why the monarchy? “I do not fully agree with the Republic because it is the verticalization of politics. My monarchical ideologies were formed above all because of my being a traditionalist ”. Who passed on the passion for art to you? “My family is of artists. I think I have a passion for art in my blood ". Upcoming exhibitions? "I am finishing the pieces of a project that I have been taking care of for many years, that is to show the woman through portraits with particular colours that bring out what they convey to me". Volete ammirare altre opere di Matteo Sullivan? Cliccate su Internet al www.adrianno.com Devis Maidò IL CORRIERE di SESTO ________________________________________________________________________________ ANNO XXIX – N. 16 30 OTTOBRE 2004 € 0,50 ________________________________________________________________________________ Founder of P.d.A.M .: "An artist is also a man who has his own ideas" MATTEO CORNELIUS SULLIVAN Art Objective: "to give everyone happiness and harmony" di ALESSIO PRIMAVESI International artist born in Milan and lived between Italy and Australia, he boasts a long artistic career in which he revealed great creative versatility, venturing between painting, sculpture and engraving. Where do your subjects draw inspiration from? "They have the ideal inspiration for those who want to change the World for the better, to give everyone happiness and harmony. It is a goal that many artists and idealists have set themselves". How is this more easily accessible? "Through a society closer to tradition, because this has already experienced various possibilities during the existence of humanity which, added to scientific and technological discoveries, could finally bring about a balance of substance, true progress. Different from that sold by politicians, an end in itself and for speculation, a generator of inequality and social injustice. If it is not commercial, Art also does its part: by refining souls, it contributes to making humanity deeper and more attentive, improving it. The evil of the world is ignorance!" Did you want to express this with your “Microcephali”? "Exactly. They vividly describe the world of politics. With colours and shapes you can symbolically express things that cannot be said with words ". To the microphones of "Vip after Vip", Rnc Radio, you said that the Savoy family owes you to have returned to Italy without having to swear to the Republic. "Yes, it was 1997 when a parliamentary debate opened on the opportunity, on their return from exile, of an oath to the Republic by Vittorio Emanuele di Savoia and his son, and I said, with a press release published by the Corriere della Sera, which is not necessary because they would not have held public office”. You are the founder of Monarchist Alternative (PdAM). What does it has to do with art? “Everything and nothing: an Artist is also a Man and therefore has his own ideas”. alternativamonarchica@email.it Art Gallery: www.adrianno.com Arte e cultura – Varie LSNN.net Matteo Cornelius Sullivan, the first artist to invade the edges of the canvas Interview by Silvia Michela Carrassi Hi Matteo, we have known each other for several years, our activities mainly of an informative nature, have given rise to the idea of being able to publish your articles, your always very interesting content, on the LSNN Portal. When you wrote to me that in addition to writing, there was also painting among your arts, I thought, from artist to Artist (we are happy with the pun), that it is nice to be able to create and I observe your creations with admiration. I ask you some simple questions, with the premise that “if we talk about creation, art in all its pure and always aesthetic forms, the space in the LSNN Portal is well used. Where there is Aesthetics, the Future is present and this greatly repays all the efforts used every day to support and keep the Network alive". This occasion is important so that the public, readers of the LSNN Network, can appreciate your creations, “already” what I personally observe with admiration. When did this passion start? Coming from a family of artists, where my mother, Lidia Pera, was a RAI TV presenter and actress and is now a sculptress and, on her maternal grandmother’s side, there is the famous Italian and American family of Cartaino Scarpitta, with names like Gaetano Cartaino a famous sculptor who was her great-grandfather, Salvatore Scarpitta Cartaino, sculptor, Sal Scarpitta, sculptor and painter, Carmen Scarpitta, actress and many others; her father, Renato Pera, was an inventor and had the magazine "Selezione Radio" and when every now and then I went to visit him, I used to see him painting 19th century ships on wooden boards, he used very sophisticated techniques but it was never a profession. My father, Craig Stewart Sullivan, was a tenor, I don't know where the passion began, because I've always been surrounded by art, even figurative art, but if I really have to give a date, I'd say 1985 when I transferred my painting from paper on the first canvas. A curiosity is that my father taught me the basic technique of painting when I was a child, he in turn had learned it as a child from the Australian painter Norman Lindsay, a friend of my grandfather. One thing perhaps of interest for the art world is that my fourth canvas "Attempt to escape from the painting", a small one, 18x24cm, in which I represented an individual who was trying to get out of the painting and his hand was attached to a frame painted on the canvas itself and which invaded the edges of the canvas itself; This is the first painting in the history of art in which the edges of the canvas are invaded for needs of the work’s representation [in the photo for the interview, this painting is presented showing the edges of the canvas]. Also in 1985 I painted another small painting, 30x40cm, entitled "Escape from an ugly painting", in which there were small human figures painted almost in a naïve style, which in a certain sense flew out of a grey and depressing city and went to sit on a frame also painted and that invaded the edges. These two paintings are distant from what I paint today but they maintain their primacy and their own uniqueness. And the story of these paintings does not end there, in fact at the time I used to invite many friends to my house in Milan and among these many artists ... the result was that, we are still in the 80s, while I was walking through the streets of Milan, I passed in front of an art gallery and to my surprise I saw an entire exhibition of paintings copied from my picture "Escape from an ugly painting", all repeating the same idea with variations .. I wasn't too pissed off, because I thought, as I still think today, that he was not an artist, even if he knew how to paint well, but nothing more than a canvases’ smudger, an individual without dignity, capable only of stealing ideas of others and moreover without saying anything... This does not detract from the copying of old masters’ works which, while remaining copies, are a separate matter and which in any case concern dead and long-buried artists. But let's reiterate this well for our contemporary society that sees art only when it reaches the red carpets of the Oscars, those who steal the ideas of others, not only are worth nothing from an artistic point of view but also from a human one, because that still is about stealing. This was not the only time I was copied, but if you have creativity, even if you do judge, you move on, because you go on, the copiers stay where they are: into mediocrity. Going back to the invasion of the canvas’s edges, which in my case was not a decorative matter but part of the artwork that was advancing onto that space, this idea became a practice for me at the end of the 1980s; Today almost all painters do it, although generally the edges are painted so as not to leave part of the canvas blank, that is, without continuing the artwork on the edges. When did you have the idea of starting this path? Let's say that from the 90s onwards art become a constant for me, albeit alternating with other things I deal with, including politics in the monarchist field, journalism and my passion for history which translates into the books I write. Do you have any future plans in this regard? Yes, I always have projects, making them is another story ... but I always work on them, constantly. Are you planning specific publications regarding your painting? No, I do not have editorial projects on my art but, as from a working point of view I also deal with tourism in Western Australia, mainly towards the Pinnacles Desert, and this activity is interrupted due to Covid-19, I have had a lot more time available to write, with the result that this year I have already published eight books that were "in the drawer" for some time but are all history or biographical. What techniques do you apply in your art? Theoretically all those available but the prevalence always falls on oil colours that I generally use without overlapping, that is, as is done for frescoes, which makes the shades more difficult to paint but which guarantees greater stability of the colours over time. Oil painting is formidable, the ancient Greeks already used it and it has been preserved in some cases up to the present day, with acrylics, which in any case I use every now and then, instead it’s a bet, in the sense that it is not known if they will last for a long time. How do you feel about your activities? Very well, even if I never think about it, in the sense that I always keep doing my thing, regardless of the ups and downs that, as in everything of life, are always present. Have you exhibited your works somewhere? Yes, I have exhibited my works several times, mainly in Milan, Sydney and Perth, but also in England and in other countries and in many other Italian cities; to be precise, I have exhibited my works 147 times in solo exhibitions, group exhibition, permanences and art prizes, where I also won some prizes, including two first prizes, one of which, however, I did not accept because I was among the organizers of the art prize and I did not it seemed fair to be rewarded. Currently I am exhibiting at the “VPCA Art Supermarket” located in the Victoria Park’s shopping centre, in a residential suburb of Perth, Western Australia; The initiative is one of many organized by the Victoria Park Centre for the Arts. What style did you embrace? In truth, I am very eclectic and I also like the idea of adapting the style to the subject and not viceversa. In my works, however, the message is more important than aesthetics as such and I believe it is a way of expressing oneself that transpires not only in my paintings or sculptures but also in my writing. However, the criticism of my works that I like most, because I believe it identifies my work in the most precise way, is that of Giuseppe Manzoni di Chiosca, a friend since many years and a great art critic, who defined me as a superealist but not of superealism similar to hyperrealism but in contrast to surrealism that comes from the subconscious, therefore dreams and sub-real, while my paintings that sometimes have a similarity in images with surrealism, express ideas or ideals and therefore are above the consciousness, super-conscious, or indeed: super-realists, above reality. So yes, I embraced superealism, even if before his criticism I hadn't superconscientialised it and practically embraced myself, because apparently I'm the only superealist of this kind... http://www.ladysilvia.com/en/ladysilvia/29012/art/0/ On show 150 times: 26 solo exhibitions, 1 public art work, 61 group exhibition, 31 permanence in galley, 31 art prizes [winner of 15 art awards: 2 first prizes (one of which declined), 2 second prizes, 3 third prizes, 1 fourth prize, 5 various prizes (of which one not collected), 1 recommendation, 1 appreciation], 18 art catalogues. Solo exhibitions: 1988 Sweet Fantasy, Lido delle Nazioni - Ferrara 1990 “Sullivan”, Circolo dei Cavalieri, Milano 1991 “Cavalleria medioevale”, Circolo dei Cavalieri, Milano 1991 “Battaglie”, Unione Monarchica Italiana, Milano 1991 Hunters Lodge, Axminster, Devon 1992 “Inaugurazione Studio Sullivan”, Studio Sullivan, Milano 1992 “Surrealismo Pseudo-tonico”, Centro Culturale d’Arte San Michele, Milano 1994 “Matteo Sullivan, Milano-Sydney”, Albion Street Gallery, Surry Hills - Sydney 1995 “The future is creation”, TAP Gallery, Darlighurst – Sydney 1995 “Il Regno del colore”, Circolo Nuova Monarchia, Milano 1996 “Re di Maggio”, Centro Culturale San Michele, Milano 1996 “Matteo Sullivan al New York Cocktail Garden Party”, Kookabar, Milano 1996 “Arte, Cafè, Rock e Tabacco”, The Tabac Rock Cafè, Milano 1996 “Olii su tela”, Studio Panigati, Milano 1996 “Oversize”, Studio Panigati, Milano 1996-1997 “Looking up!”, The Tabac Rock Cafè, Milano 1997 “Blue”, Studio Panigati, Milano 1998 “Orizzonti di Guerra”, Ufficio Turismo Trentino, Milano 2000 “Luce”, Sud, Milano 2001 “Rosso su rosso”, The Tabac Rock Cafè, Milano 2010 “La repubblica dei ladri”, Associazione Artisti Monarchici, Facebook, Mondo 2011 “Non solo Gorla”, Teatro Wagner, Milano 2011 “Orizzonti di guerra”, Shambala, Milano 2012 “Immagini della Seconda Guerra Mondiale”, Agriturismo Marchesi Isimbardi, Castello di Santa Giuletta – Pavia 2017 “Retrospective”, Victoria Park Library, East Victoria Park – Perth 2022 “Red”, Kent Street Gallery, Victoria Park Centre for the Arts, East Victoria Park – Perth Group exhibitions: 1991 “Accademia aperta”, Scuola degli Artefici, Accademia di Brera, Milano 1992 “Accademia aperta”, Scuola degli Artefici, Accademia di Brera, Milano 1994 “Art Expo ‘94”, Showground, Paddington – Sydney 1994 “The winter exhibition, Sean Barry and Matteo Sullivan”, Gould Street Art Gallery, Bondi Beach -Sydney 1994 “The Artists Gallery”, Albion Street Gallery, Surry Hills - Sydney 1994 “The Artists Gallery”(2), Albion Street Gallery, Surry Hills - Sydney 1994 “Angels”, Howard Leonard Galleries, Darlinghurst - Sydney 1994 “Small Accounts”, Albion Street Gallery, Surry Hills - Sydney 1994 “Helen and Matteo”, TAP Gallery, Darlinghurst - Sydney 1994 “Open Group Show” TAP Gallery, Darlinghurst - Sydney 1994 “Open Group Show” TAP Gallery, Darlinghurst - Sydney 1994 “Erotica”, TAP Gallery, Darlinghurst - Sydney 1994 “Less is more”, Cameron Street Studio, Balmain - Sydney 1994 “It’s a crime”, Howard Leonard Galleries, Darlinghurst - Sydney 1994 “Miniature Christmas Show”, TAP Gallery, Darlinghurst - Sydney 1995 La Congiura dei Pazzi, Sarzana - La Spezia 1995 “Collective”, TAP Gallery, Darlinghurst - Sydney 1995 “Collective”, TAP Gallery, Darlinghurst - Sydney 1995 “Erotica”, TAP Gallery, Darlinghurst - Sydney 1995 Cameron Street Studio, Balmain - Sydney 1995 “Salon De Refuse De Refuse”, TAP Gallery, Darlinghurst - Sydney 1995 “Launch of TAP Collective”, TAP Gallery, Darlinghurst - Sydney 1995 Group Exhibition, TAP Gallery, Darlinghurst - Sydney 1995 Gannon House Gallery, The Rocks - Sydney 1995 Stock Show, TAP Gallery, Darlinghurst - Sydney 1995 “L’assieme”, Centro Culturale d’Arte San Michele, Milano 1995 “Euro Art Expo 1995”, Fiera di Verona, Verona 1996 Stock Show, TAP Gallery, Darlinghurst - Sydney 1996 “Collettiva per la XX Edizione Sever d’Oro”, Centro Culturale Internazionale d’Arte Sever, Milano (segnalazione fuori concorso) 1996 “Collettiva”, Centro Culturale Internazionale d’Arte Sever, Milano 1996 “Collettiva”, Centro Culturale Internazionale d’Arte Sever, Milano 1996 “Mostra di Primavera”, Centro Culturale San Protaso, Milano 1996 “Collettiva d’Arte”, Accademia del Quadrato, Milano 1996 “Spazio libero”, Studio Panigati, Milano 1996 “Eterogenea”, Centro Culturale San Michele, Milano 1996 Associazione Culturale “Amici del Quadrato”, Milano 1996 “Etruriarte 7”, Fiera Centro per la Valorizzazione Economica della Val di Cornia S.p.A.- Venturina e Centro di Iniziativa per le Attività Ricreative - Piombino, Piombino - Livorno 1996 “Mostra collettiva di pittura”, Centro San Protaso, Milano 1997 Associazione Culturale “Amici del Quadrato”, Milano 1997 “Eterogenea 2”, Centro Culturale San Michele, Milano 1997 “Etruriarte 8”, Fiera Centro per la Valorizzazione Economica della Val di Cornia S.p.A.- Venturina e Centro di Iniziativa per le Attività Ricreative - Piombino, Piombino - Livorno 1998 “Collettiva”, Studio Panigati, Milano 1998 “Artisti Contemporanei”, Studio Panigati, Milano 1998 “Spring bazaar”, Kookabar, Milano 1998 “Quando l’arte si fa visione”, Petrofil Arte, Milano 1998 Collettiva, Bertrand Kass Galerie, Insbruk 1999 “Rassegna di pittura di artisti contemporanei”, Studio Panigati, Milano 2001 “Matteo Sullivan e Stefano Diomede”, Casablanca, Milano 2011 Collettiva benefica a favore dell'AISM, Spazio Arte Tolomeo, Milano 2012 “30x30 = 60”, Il Circolo dell’Arte sui Navigli, Milano 2012 “Collettiva di Pittura & Scultura” Circolo dell’Arte sui Navigli e Galleria SPAZIO LIBERO 8, Galleria SPAZIO LIBERO 8, Milano (riconoscimento d’arte “d’onore e merito” per la pittura) 2012 "The5ymposium" The 5th Symposium of Arts Cultures & Tradition - International Multietnic Art Expo & Conventions “Milano Arts Festival International” XVI ediz. MMXII, con il Patrocinio del Consiglio della Regione Lombardia, Golf People Magazine, Global Media News.it, In Arte, Clip Film Europa, Circolo dell’Arte sui Navigli, Corsico – Milano 2012 “Happy Fleur”, Cafè de Fleur, Circolo dell’Arte sui Navigli, Milano 2013 “The TAP 24th Birthday Art Show”, TAP Gallery, Darlinghurst – Sydney 2013 “Flash group show”, TAP Gallery, Darlinghurst – Sydney 2017 Express yourself 2017, Victoria Park Centre for the Arts, East Victoria Park – Perth 2018 Express yourself 2018, Kent Street Gallery, Victoria Park Centre for the Arts, East Victoria Park – Perth 2018 Victoria Park Centre for the Arts - Members' exhibition, Kent Street Gallery, Victoria Park Centre for the Arts, East Victoria Park – Perth 2021 VPCA Members’ and printmakers’ exhibition 2021, Kent Street Gallery, Victoria Park Centre for the Arts, East Victoria Park – Perth 2021 “Horizons of war” at “VPCA Christmas Art & Craft Market Stall”, Victoria Park Centre for the Arts, East Victoria Park – Perth 2021 “Final show of the year”, TAP Gallery, Darlinghurst – Sydney Permanence in gallery: 1986-1986 Bar, Milano 1993-1993 Ocean Front Art Gallery, Manly - Sydney 1993-1993 Urban Hard Ware, Bondi Beach - Sydney 1993-1993 Hall of Frame, Vaulcluse - Sydney 1993-1993 Sarah’s Gallery, Bondi Junction - Sydney 1993-1993 Next Door Gallery, Bondi Junction - Sydney 1994-1995 Alleanza Nazionale Monarchica, Milano 1994-1994 Sarah’s Gallery, (2) Bondi Junction - Sydney 1994-1994 Urban Hard Ware, (2) Bondi Beach - Sydney 1994-1994 Art Virtu, Randwick - Sydney 1995-1996 Mosaic Gallery, Kirribilly - Sydney 1995-1998 New Gallery, S. Vincenzo - Livorno 1995-1996 Artstock, Cremone - Sydney 1995-1996 Season Gallery, North Sydney - Sydney 1995-1995 Studio 26, The Rocks - Sydney 1995-1996 Pochoir Gallery, North Sydney - Sydney 1996-1999 Blue Lias, Lyme Regis - Dorset 1995-1998 Terrigal Beach Fine Arts Gallery, Terrigal - N.S.W. 1999-2000 Arts Discount, Milano 2000-2001 Galleria, Corsico - Milano 2000-2001 Valerio Chiesa Fine Arts, Milano 2001-2001 Valerio Chiesa Fine Arts, (2) Milano 2001-2001 Galleria d’Arte “Il Gabbiano”, Chiavari - Genova 2002-2002 La Maiolica, Fremantle - Perth 2002-2003 Adrianno’s Fine Art Gallery, Burswood – Perth 2002-2002 Kaandy Art and Gift Gallery, South Fremantle - Perth 2003-2003 Adrianno’s Fine Art Gallery, (2) Burswood - Perth 2010-2011 Il Mondo di Mad, Sesto San Giovanni - Milano 2017-2019 Monet Gallery, South Guildford – Perth 2018-2022 Giftshop, Victoria Park Centre for the Arts, East Victoria Park – Perth 2021-2022 VPCA Art Supermarket, Victoria Park Centre for the Arts, Victoria Park Central, Victoria Park - Perth Public art work: 2002 Scuola per l’infanzia “Carlo Collodi”, in rappresentanza per gli artisti dell’Oceania “Spazio Pinocchio”, Studio Arti Visive, Fondazione Nazionale “Carlo Collodi”, Matera Art prizes: 1985 “11° Concorso Internazionale Mosè Bianchi 1985”, Galleria Modigliani, Milano (4th Prize) 1991 “5a Fiori e quadri”, Circolo “il dibattito”, Milano (3rd Prize) 1991 “1° Concorso Fioriera d’Autore”, Associazione Commercianti Via Fiori Chiari, Milano 1992 “2° Concorso Fioriera d’Autore”, Associazione Commercianti Via Fiori Chiari, Milano 1992 “2° Concorso palio di Calvairate”, Circolo il Dibattito, Milano 1992 “Premio Cosmè Tura 92”, Galleria Alba, Ferrara (1st Prize) 1992 “Tema libero”, La Rinascente, Milano 1992 “San Luigi Da Montfort Maestro di Spiritualità nel 150° Anniversario”, Centro Culturale S.Bartolomeo, Bergamo 1993 “Mosman Art Prize 1993”, Mosman Council, Mosman - Sydney 1994 “Mosman Art Prize 1994”, Mosman Council, Mosman - Sydney 1994 “8th Annual Prize and Exhibition”, the Rotary Club of Liverpool West and Liverpool City Council, City of Liverpool - Sydney 1994 “31st Lane Cove Municipal Art Award”, Municipality of Lane Cove, Lane Cove - Sydney 1994 “34th Annual Ryde Art Awards”, the City of Ryde Art Society, Ryde - Sydney 1995 “Portrate Prize”, TAP Gallery, Darlinghurst - Sydney 1995 “Drummoyne Municipal Art Society 31st Annual Art Award Exibition 1995”, Drummoyne - Sydney 1995 “Autunno e Colori”, Centro Culturale Internazionale d’Artre Sever, Milano (2nd Prize) 1996 “Premio Filippo De Pisis 1996”, Galleria d’Arte <>, Ferrara (3rd Prize) 1996 “Omaggio al Carnevale”, salone ex Biblioteca Comunale, Amici del Quadrato, Città di Casalpusterlengo - Lodi (Prize: Premio speciale distinto) 1996 XX Edizione “Sever d’Oro”, Sala del Grechetto di Palazzo Soriani, Centro Culturale Internazionale d’Arte Sever, Milano (Segnalazione fuori concorso) 1996 10° “Premio Città di Casale”, Complesso S. Bartolomeo, Sede Regionale Piemonte, Gruppo Arte Casale, Casale Monferrato - Alessandria (Premio di Rappresentanza, Banca Popolare di Novara) 1996 “11° Gran Premio Italia”, Villa Durazzo, Centro Arte Bologna, Santa Margherita Ligure - Genova (2nd Prize: Premio speciale giuria) 1996 3° Premio “Cesate Art 1996”, Associazione Culturale Amici del Quadrato (Milano), Biblioteca di Cesate – Milano (Prize: Premio Cesateart) 1996 “Premio Internazionale Biondi Tesio 1996”, Sala capitolare della Chiesa di San Giovanni, B&T Gallery (Milano), Saluzzo - Cuneo (3rd Prize) 1996 “Concorso di pittura estemporanea”, Palazzo Bertarelli Galliani, Comune di Pontecurone, Pontecurone - Alessandria 1996 2° Concorso di pittura “L’Idroscalo di Milano nelle quattro stagioni”, Gruppo artistico Forlanini - Monluè e Provincia di Milano, Sala Azzurra del Parco Idroscalo Est, Segrate - Milano 1997 1° Concorso d’Arti Visive “Carlo Magno”, Associazione Artisti Monarchici, Studio Panigati, Milano (1st Prize - refused) 1997 Trofeo Élite, Accademia Toscana “Il Macchiavello”, Firenze (Trofeo Élite – not collected) 1998 “25ma Edizione Concorso Internazionale Pittura e Grafica – Epifania 1998”, Galleria d’Arte Eustachi, Milano (Prize: Premio Medaglione Argento) 1999 “Artisti del 2000”, Galleria del Centro Arte Bologna, Bologna 2000 “VIII Internazionale d’Arte Contemporanea Europ Art Group, IV Trofeo ‘Remo Brindisi’”, Associazione Culturale Europ Art Group, Comune di Mesola, Castello Estense di Mesola – Ferrara 2013 “Pyrmont Art Prize”, TAP Gallery, Darlinghurst - Sydney Art catalogues: (*published artwork) 1992 La Fioriera d’autore – 2° Concorso giovani pittori di Brera, Associazione Commercianti, Via Fiori Chiari, Milano 1993 Mosman Art Prize 1993, Mosman Council, Mosman - Sydney 1994 Mosman Art Prize 1994, Mosman Council, Mosman - Sydney 1994 The City of Liverpool Annual Exhibition 1994, City of Liverpool - Sydney 1994 31st Lane Cove Art Exhibition 1994, Lane Cove Art Society, Lane Cove - Sydney 1994 34th Annual Ryde Art Awards, The City of Ryde Art Society, Ryde - Sydney 1994 31st Annual art Awards, Drummoyne Municipal Art Society, Drummoyne - Sydney 1995* Dizionario Enciclopedico d’Arte Contemporanea 1995/1996, Casa Editrice Alba, Ferrara 1995 Euro Art Expo ’95, Promexpo, Verona 1996* Omaggio al Carnevale, Amici del Quadrato, Casalpusterlengo 1996 10° “Premio Città di Casale”, Complesso S. Bartolomeo, Sede Regionale Piemonte, Gruppo Arte Casale, Casale Monferrato - Alessandria 1996* Etruriarte 7, Lalli Editore, Poggibonsi - Siena 1997* Etruriarte 8, Lalli Editore, Poggibonsi - Siena 1998* Catalogo Nazionale d’Arte Contemporanea 1997/1998, Casa Editrice Alba, Ferrara 1998* Selezione Arte Italiana 98, l’Èlite, Varese 1998 “….E l’opra riede - 21 Aprile 1988 - 21 Aprile 1998”, Centro Culturale San Michele, Milano 2010* “La repubblica dei ladri”, catalogo della mostra virtuale di Matteo Sullivan, Associazione Artisti Monarchici, allegato a “La Circolare Spigolosa” n. 173 2021 “Horizons of war”, self-published 2022 “Red”, self-published Art associations: 1996-2022 Chairman, "Associazione Artisti Monarchici" 2011-2011 Coordinator, "Protagonisti dell'Arte", Centro Studi Europa 2000 2011-2011 Director, "Protagonisti dell'Arte", Centro Studi Europa 2000 2011-2022 Chairman, “ART-E20” Club di Promozione Arte 2021-2022 Coordinator, VPCA Art Supermarket, Victoria Park Centre for the Arts, Victoria Park Central, Victoria Park – Perth 2021-2022 Member of the Board, Victoria Park Centre for the Arts, Victoria Park Central, Victoria Park – Perth Art curator: 1996 “Eterogenea”, collettiva, Centro Culturale San Michele, Milano 1997 “Eterogenea 2”, collettiva, Centro Culturale San Michele, Milano 1997 1° Concorso d’Arti Visive “Carlo Magno”, Associazione Artisti Monarchici, Studio Panigati, Milano 2011 “Power Pop”, di Ludmilla Radchenko, Protagonisti dell’Arte, Provincia di Milano, La Casa delle Culture del Mondo, Milano 2014-2022 Lidia Pera Private Gallery, Victoria Park – Perth 2017 “Magnificent suggestions” by Lidia Pera an exhibition of sculptures, Victoria Park Library, East Victoria Park – Perth 2018 Collective, students at Mount Margaret Remote Community School (MMRCS), Victoria Park Centre for the Arts, East Victoria Park - Perth 2018 Collective, Laverton Leonora Cross Cultural Association (LLCCA), Victoria Park Centre for the Arts, East Victoria Park - Perth Art - other: 1989 Decorations of the “Circolo Ufficiali”, SARAM, Aeronautica Militare, Taranto 1997 Illustrations for “Enciclopedia della Birra”, Milano 2001 Decorations for the disco club of “The Tabac Rock Cafè”, Milano 2013 Decoration for: matchbox, www.matchboxprojects.com Printed in Perth, 19/01/2022