24 June 2014
How do you define your artistic path?
I think of it as an endless searching for Beauty, even where you don’t expect to find it. A long journey portrayed on a kind of supports that leaves a tangible trace of my inner world, made of symbols and allegories. A path of more than thirty years that gave me great satisfactions and that I hope has the future because of which I choose to create all of this.
How it is possible to describe contemporary art’s horizon nowadays? Multiplicity of forms and a melting of languages can be seen as a valuable aspect or a confusing element throughout the definition process of the author’s artistic identity?
An unstoppable chaos always in eternal motion. And this new claustrophobic aspect is exactly what dictates often the subjective parameters of the contemporary artistic research, that uses new technologies and avant-guarde communication media. I think they are far to be annoying, too. I believe that the multiplicity of expressive languages makes the artistic work stronger, stimulating the artist, bringing her or him to look for that personal – and original – way of communicate, searched by many, that defines our own artistic identity.
The project, the idea, come before the artwork or within it, as it is taking shape?
It is not always easy to follow a fixed method of proceeding when the aim is to create an artwork. My personal designing phase assumes a main role most of the times, for what is concerning the idea and the spatial construction of the artwork, even if, at the very moment of the making, it is possible to witness a complete makeover, provoked by the technique adopted or simply by fortuity. The last one contributes to catalyze the emotional involvement of the artist with the artwork itself, giving it that rare expressive quality we deliberately and continuously are searching for.
What is your perspective on the art market? Do you think it is important to know precisely how it works?
I find it terrible. Beyond the world’s economic crisis, Italy is definitely the country that more than any other discourages the artistic national making because of its taxes’ politics related to the art market. This aspect has weakened very much the relation between the artists and the galleries, forced to close because people start to consider them as luxury shops instead of culture’s places. This is one of the reason why we search for alternative ways, usually via web, exclusively dedicated to promote art internationally.
What is your relation with the potential public? How do you feel about the eye of the observer?
I valuate it the final phase of my work, and the most important one. It is the judgement day. Usually I wait for the public to choose the right interpretative key, driven by its own impressions, its cultural background and imagination. Through the spontaneous critics of the observer I succeed in understanding the point the artwork reach or even if it went beyond my expectations.
How do you develop your work?
On drawing’s and thoughtful work basis. I need a long phase thinking of an artwork before begin to make it. After planning the artwork project and selecting the main subjects of what will become a series, I take a step further and begin to work. I start to confide in the artwork, using it to narrate the immediacy of that shiver that runs on your spine through the element I absolutely need: the color.
What kind of techniques are you most interested in?
Since many years I have been using mixed media on various supports, traditional and alternative. During the execution of these techniques I always find new material effects created just by the fortuity that belongs to the painting technique I choose. I find it absolutely compatible with my creative instinct, searching for an hybrid that melts figurative and action painting, two curents difficultly used to co-exist.
Who are the contemporary artists you consider the closest to your inspiration? Who are the ones you appreciate most?
t is difficult to say. During my painting’s experience I looked at great masters of the past and the present time. Now I am searching for a fusion between Sartorio, Boldini, Thiebaud and Pollock in a contemporary post modern horizon that is obsessed by the Internet. I think that if we only look at the whole international art landscape, made of co-housings and new stances about the Art itself, we will find that beyond every medium used stands only a common factor: the revisiting one.
New media, traditional techniques, creativity, designing, importance of the matter. How did you choose your stylistic matrix? How do you work on it?
I always try to catch the eye of the observer through the interposition of easily recognizable elements, familiar subjects combined in an invisible, out of time space made only of painting matter. The artwork has to invite the observer to think about the position, sometimes improbable, of the portrayed macro objects that hide the human sufferings with ironic camouflages. A new neo pop figuration that tells people about a daily life made of unsolved mysteries and introspective visions, altered by the strength of the color impact, that mislead deep emotions.
I think of it as an endless searching for Beauty, even where you don’t expect to find it. A long journey portrayed on a kind of supports that leaves a tangible trace of my inner world, made of symbols and allegories. A path of more than thirty years that gave me great satisfactions and that I hope has the future because of which I choose to create all of this.
How it is possible to describe contemporary art’s horizon nowadays? Multiplicity of forms and a melting of languages can be seen as a valuable aspect or a confusing element throughout the definition process of the author’s artistic identity?
An unstoppable chaos always in eternal motion. And this new claustrophobic aspect is exactly what dictates often the subjective parameters of the contemporary artistic research, that uses new technologies and avant-guarde communication media. I think they are far to be annoying, too. I believe that the multiplicity of expressive languages makes the artistic work stronger, stimulating the artist, bringing her or him to look for that personal – and original – way of communicate, searched by many, that defines our own artistic identity.
The project, the idea, come before the artwork or within it, as it is taking shape?
It is not always easy to follow a fixed method of proceeding when the aim is to create an artwork. My personal designing phase assumes a main role most of the times, for what is concerning the idea and the spatial construction of the artwork, even if, at the very moment of the making, it is possible to witness a complete makeover, provoked by the technique adopted or simply by fortuity. The last one contributes to catalyze the emotional involvement of the artist with the artwork itself, giving it that rare expressive quality we deliberately and continuously are searching for.
What is your perspective on the art market? Do you think it is important to know precisely how it works?
I find it terrible. Beyond the world’s economic crisis, Italy is definitely the country that more than any other discourages the artistic national making because of its taxes’ politics related to the art market. This aspect has weakened very much the relation between the artists and the galleries, forced to close because people start to consider them as luxury shops instead of culture’s places. This is one of the reason why we search for alternative ways, usually via web, exclusively dedicated to promote art internationally.
What is your relation with the potential public? How do you feel about the eye of the observer?
I valuate it the final phase of my work, and the most important one. It is the judgement day. Usually I wait for the public to choose the right interpretative key, driven by its own impressions, its cultural background and imagination. Through the spontaneous critics of the observer I succeed in understanding the point the artwork reach or even if it went beyond my expectations.
How do you develop your work?
On drawing’s and thoughtful work basis. I need a long phase thinking of an artwork before begin to make it. After planning the artwork project and selecting the main subjects of what will become a series, I take a step further and begin to work. I start to confide in the artwork, using it to narrate the immediacy of that shiver that runs on your spine through the element I absolutely need: the color.
What kind of techniques are you most interested in?
Since many years I have been using mixed media on various supports, traditional and alternative. During the execution of these techniques I always find new material effects created just by the fortuity that belongs to the painting technique I choose. I find it absolutely compatible with my creative instinct, searching for an hybrid that melts figurative and action painting, two curents difficultly used to co-exist.
Who are the contemporary artists you consider the closest to your inspiration? Who are the ones you appreciate most?
t is difficult to say. During my painting’s experience I looked at great masters of the past and the present time. Now I am searching for a fusion between Sartorio, Boldini, Thiebaud and Pollock in a contemporary post modern horizon that is obsessed by the Internet. I think that if we only look at the whole international art landscape, made of co-housings and new stances about the Art itself, we will find that beyond every medium used stands only a common factor: the revisiting one.
New media, traditional techniques, creativity, designing, importance of the matter. How did you choose your stylistic matrix? How do you work on it?
I always try to catch the eye of the observer through the interposition of easily recognizable elements, familiar subjects combined in an invisible, out of time space made only of painting matter. The artwork has to invite the observer to think about the position, sometimes improbable, of the portrayed macro objects that hide the human sufferings with ironic camouflages. A new neo pop figuration that tells people about a daily life made of unsolved mysteries and introspective visions, altered by the strength of the color impact, that mislead deep emotions.
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