|Even. (Triptych left side) 50 x 70cm, ed. of 2. Digital illustration on Hahnem|
ule. Available at Dorothy Circus Gallery, Rome.
Paolo, what means to you showing your work alongside those of Ray Caesar and Natalie Shau?
Alexandra Mazzantihas the merit of this combination: she is theexhibition designer and owner of Dorothy Circus Gallery. It all happened very quickly and i was very glad to accept the offer (simply saying 'yes').
|Even. (Triptych central part) |
50 x 70cm, ed. of 2. Digital illustration on Hahnemule. Available at
Dorothy Circus Gallery, Rome.
What's your cultural background?
I didn't attend Art schools or academies and i don't make a boast on this. Nevertheless, It was a deeply felt choice that has allowed me to have a less formal access to painting. It's obvious saying that Italy is a country rich in historical tradition and creativeness: even a child can feel it... just breathing the air of this wonderful land. But the word 'History' often implies that the 'Tradition' is subjected to a 'Transition' and sometimes to a 'Treason'. At the same time, i took away from the 'Culture', another concept that can be easily exploited. In the Bel Paese, well-educated people feed on the big names of culture, can gobble and manipulate their thoughts, without having any direct experience of them.
I prefer intelligence, cleverness and understanding capability! So, i prefer the stage of intuition: people can see marvellous things, can catch even their strength and their history, only looking each other in the eyes.
Even. (Triptych right side) 50 x 70cm, ed. of 2. Digital illustration on
Hahnemule. Available at Dorothy Circus Gallery, Rome.
Your works have a decidedly Renaissance imprint although they are the result of a digital experience. What comes out from this unusual "asynchrony" between techniques and characters?
The italian verb 'rinascere' (i.e. 'reborn', from which the term 'Renaissance') is a wonderful word! It sounds good to me! In the Renaissance the foundations for a recovery of classical cultural values were laid, but then they also suffered an evolution (in the 'Mannerism'). I think that in the early period, painting technique were more... hybrid than we can imagine. To be clear, many pictures that are catalogued ad oil paintings, were probably made with a mixture of egg tempera, oil, resin and other mediums whose recipes are very difficult to reconstruct. Digital painting give a great chance of experimentation, if you don't close it in a strict category. I have approached it especially for reason of space, i don't consider myself a digital artist. 'Viator' was born as a digital work, with marked graphic characteristics, then developed in traditional painting and sculpture. 'Viator' is important because it contains the last three steps of a rebirth. From this experience, i have realized that style and technique are sides of the same coin, whose thickness and weight you can value after a long time.
|Viator. 35 x 70cm. ed. of 50. |
Digital illustration on Hahnemule.Available at Dorothy Circus