“What starts out as vision soon becomes corrupted into a tragedy of greed, leaving only a sense of nihilism and the inevitability of a new understanding. As shifting impressions become transformed through boundaried and diverse practice, the viewer is left with an insight into the edges of our era.” Pierluigi Fracassi gives his own perspective about Art through a supertacualr interview. Enjoy!
Dam perfection (la console)
– How would you describe yourself as an artist?
I’m a young artist, still tryng my best to seek out every opportunity I can to learn more, whether it is from history or other artists. I am meticulous in exaggerated expression always seeking surprising passages of feelings through visual expression. I’m a serious one: I take really seriously what I do and I love to discuss major issues only after the viewer has been dazzled by the sumptuous forms, the majesty of the the elements or the fluorescent colors…all of which act as bait. I suppose that the term “Baroque” encloses the guidelines of my work, baroque as a style whose charm lies in the perfect harmony of antithetical and simple elements. At the same time, I think it is a metaphor for the contemporary civilization: every time I walk trough a new and never seen place I realize how spectacular and perfect the overview of the multiplicity of things and people, all so different on their own. In all this I find Perfection.
Where do you get your inspiration from?
Mostly inspiration comes by the observation of human behavior and the perfection of nature. I love to mix intangible and shapeless human moods with the formal perfection of nature. I’m fascinated by the BEAUTY in its various forms and my challenge is to find it in the unexpected places. My research is similar to that of a mathematician and my goal is to demonstrate that beauty can be revealed in any place, at any time and in every way if we could train our mind to look beyond. The elements that I love to combine all come from animal and plant world, my research aims to discover the archetypes of the forms and I have always found in nature everything I have need of. I believe that if I had not started an artistic career now I would be an entomologist or a botanist. I’m fascinated by all the grace that one can find in the natural micro/ macro cosmos: all forms and colors that are present in the same way as in plants and human beings in a conception of the relationship between man and nature, much more similar to that of the precolumbian civilizations. My work explores the relationship between contemporary aesthetic canons and the dogmas of the main cultures with influences as different as Antonin Artaud and most of the writers and poets from the first ‘900 like Borges and Caesar Vallejo; new combinations are crafted from both explicit and implicit meanings. What starts out as vision soon becomes corrupted into a tragedy of greed, leaving only a sense of nihilism and the inevitability of a new understanding.
Filling distances between black and white
– Sceletons, bones, sκulls are present in your work…what is your relationship with death? Is it a source of inspiration as well?
Absolutely. Death, as well as life, love, ecstasy, pain, anger is often present in my works. I believe that death raises anxiety because it is not representable, isn’t it possible to depict, my research seeks to provide a representation of it; by doing it I try to enhance the natural aspect of it emphasising what physically remains compared to what unavoidably goes away. Moreover I am totally fascinated by the human, animal and vegetable anatomy: the colors and shapes of the bones and their significant minimalism opposed to the opulence of their forms…or the perfect symmetry,I think they are perfect elements to hybridize together to provide a vision of the reality definitely unique but aesthetically wonderful. I ‘d dare say a cosmetic surgery in the maximum limit of his conception making beautiful even what we will never see.
– Your work varies a lot and includes installations, prints, photos… What kind of methods do you
use in your work?
I love to experiment all, as long as the methods fits the Idea. Financial restraints on the one hand still don’t allow a big speed between the birth of the idea to its realization but on the other hand I spend more time experimenting new ways of communication… in fact is a matter of time:there are works like “Damn perfection” where the baroque console made of ceramic bones took me so long before I finished it.It has been a long work (about a year) because I wanted that each pieces was made by my hand ,it has to be original and not copy of another one so I made it one by one. At that time sculpture was my favorite medium because it gives you the knowledge of an ancient power of creating something by your hands…from clay. In other works like “orchids”, the series of non mentioned self-portraits, the photography with his speed aloud me to capture an idea or a movement that I wouldn’t be able to do with other mediums. So I believe that there’s a strong and inevitable connection between my subjects and the
medium I use to build it.
– What are your future plans?
I’ll keep working hard on my projects but in the mean time I would love to find a way to sensibilize people to contemporary art,especially here in Italy where art seems to have stopped at the last century. I believe that art education is a necessity that most often is neglected. I do believe that art is something so full and complete that there it is necessary to know more about it.