First of all, tell us something about your upcoming work. What are you into at the moment?
One of my goals concerning sculpture is to work on free-standing and floating pieces. Moreover, I’m willing to use other materials like aluminum and steel, and combinations of plastic and metal or others.This is mainly aimed at the construction of huge public and private outdoor sculptures. I’m really interested not only in trying out new materials, but also in discovering new assembly techniques. For what concerns canvases, I want to give life to new and innovative series of paintings. One of my principal goal is to focus on the meaning of what I paint and not only on the graphic execution of it. One trend I want to follow is the one of Sacred Geometry. It has already inspired some of my old paintings (e.g. Vesica pisces and Pine State) and it involves everything bound up with numerology and with the study of proportion and dimensions. My other project moves towards the study of Kufic calligraphy and in general towards the study of other writings. Finally, one of the newest project I’ve undertook is the collaboration with Apparati Effimeri, an Italian group of artists and architects who deal with Architectural Mapping. Our project is based on the use of some of my sculptures on which they’re going to cast some luminous figures. Those bright images will simulate the breaking, the reconstruction or, for example, the leak of some colour from my sculptures.
Tell us a little bit about yourself: where is home, and how long have you been a painter/street artist?
I’m based in a small town near Venice, where I grew up. By the way I’ve always been used to travelling and live here and there. I’ve spent a lot of time in Canada and in the U.S. and want to keep on travelling till I find a good place to call ”home”. I entered the graffiti scene in 1993. Since then, I have been collaborating with some very important crews: the Paduan EAD, the FX crew and the RWK crew, both from NY. After having painted graffiti all around Europe and America for a very long time, I’ve started painting also on canvas. From 2003 I’ve started selling my canvases to pay my university fees and I’ve kept on doing that while also working professionally as a designer. I finally realized that I could earn a living based on my artistic activity alone, also because gallery offers and clientele grew significantly. Therefore, I decided to establish my own business in June 2008 to sell my canvases and sculptures.This is my only job. It has always been my aim to do this kind of work. My formal studies and work experiences have provided a solid foundation to continually improve my technical abilities, especially as they relate to sculpting.
At HYDE, categories are just a way to archive tons of images, and more than once it’s so hard to define an artist as a painter or a street artist. What’s the real difference? I mean, do you catch the difference between a glamour gallery or a street wall?
I was born as a street artist, I love graffiti and I absolutely prefer painting on walls. However, having decided to live as an artist, that is to say to earn my living only thanks to my art products, I’ve been forced to stoop to compromises and I’ve started selling my art. In this sense I’ve reached a rewarding success thanks to my graffiti on walls but studio art (canvases and sculptures) is the one which provides my earning. The worlds of street art and the one of studio art are completely different, they represents two different ways to conceive the same work of art. Mainly studio art makes economically valuable and privately holdable what, following the street art conception, should be public and free.
Then are you still interested in defining yourself and your art?
The process which has led me to my current style has been a very long one. And also nowadays it is continuously developing into something more complex and personal. In this sense, I’m still interested in defining myself and my art. I’m never satisfied about the goals I’ve reached and I always try to better work and reach higher targets.
Could you tell us some more about your images? How would you describe your style?
I’m a graffiti artist but I’m also very interested in architecture, trans-architecture and design. I paint on walls, canvases and do sculptures, that is to say I try out different ways of making art and many disciplines as source of inspiration. Yet, lettering is always at the base of my productions and determines their shape and style. My stile of lettering is a 3d style made by intersected lines between sections of conic, cylindrical and twisting surfaces.
Would you give a brief walk through your work flow?
First of all I do a sketch. I always write Peeta on my canvases and walls so I start my sketch writing the letter “T”, then I proceed towards the right and write the “A” ad then towards the left writing step by step:”E”, “E”, “P” (even if sometimes I write my name only with one ”E”). When I’ve finished doing that, I go over the part I’m interested in for the development of the painting, doing some black outlines. After that i paint a dropped shadow with the fat-cap on the bottom of the painting, which helps me conveying a sense of 3dimensionality to my letters, that now seem to float on the centre of the canvas. Finally I start colouring the letters and giving life to volumes. I do my light and shades effects starting from the dark tones and proceeding towards the lighter ones. I can do that very easily using the technique of the “mixing-cap” that allows me to directly mix colours within the spray cans.
What artists have influenced you, and how? Who or what inspires you in your personal life and work?
I’ve always taken inspiration from industrial design and architecture. One of the people that have inspired me the most is Zaha Hadid, an Iraqi female architect that has always shocked me for her uncommon use of shapes and volumes. Then, between graffiti writers, the people who have inspired me the most are Delta (NL) and Daim (DE). In general, in my everyday life, I took inspiration from everyone which surrounds me, everybody I feel good with has a big influence on my state of mind, on my mood and consequently on my way of painting.
How has your work evolved over the years from when you where beginning?
I did not start writing in 3D, my style got transformed into a 3D one in 2000, more or less. Before of that my style was flat, graphic and organically formed but I’ve then turned it into something twisted and round. The role of sculpture has been essential in this process: it has helped me to deeply discover and understand the rules of shadows, the disposition of colours,surfaces and shapes.
What inspires you to paint and how do you keep motivated when things get tough in the studio?
Usually, I’ve not a precise idea of what I’m going to paint untill I start drawing the first lines on the canvas. That is the precise moment in which I get inspired and I understand which shape my drawing is going to take. I need to feel absolutely relaxed to find my inspiration and, if I’m not , I tend to paint very mechanically and so to reproduce something very similar to old works. Generally, when I feel stressed and I need to achieve the right mood to paint, I try to relax having a walk or reading a book. When things get tough in the studio, the most important thing for me is to be surrounded by positive, interesting and encouraging people such as my assistant and collaborators. Otherwise, when I’m alone, I often get distracted from thoughts and I end up with breaking my own concentration.
How could you describe that precise moment….I mean the one it makes you say: “Yes! This is great! I did it! I got it!”
I feel satisfied and relieved. Yet, this feeling doesn’t last for a very long time. It is something very similar to the end of a really good day: you relax and think about everything you’ve done, you’re tired but rewarded. However, your satisfaction blows over soon and you suddenly think about what will come later, you think about tomorrow. Something very similar happens to me when I finish a painting or a sculpture: I feel good but soon I start thinking”…let’s look ahead, what will come next?”.
And how many days it takes you to say: “So what I got??”
It depends on which kind of work I’m developing. Sculptures can really take a lot of time. I usually follow a very long process to build them which can last one month or more. Canvases take a shorter time, usually something between some days and a week (actually, it always depends on size).
How have you handled the business side of being an artist?
I employed an assistant some time ago. In the past I used to menage the business side of my job by myself but, as my artistic activity has grown up I’ve felt the need to look for somebody who looks after my business.
What is your family background? Were there any artists or creative types in the family?
I’ve grown up in a creative family. My mum has always been a creative person, she’s very good in making collages and patchworks, especially using leafs, petals and plants in general. I’ve never lived with both of my parents, they divorced when I was a child. By the way my father also has been encouraging for me. He gave me my first graffiti fanzine which has been absolutely inspiring for me. In this sense I’ve been lucky to have always been pushed and supported by my parents in doing what I like.
What upcoming shows, exhibitions, do you have coming up?
From the 15th of July I will have a big show with RWK crew, called To Busy To Die at Ayden Gallery, Vancouver. Then, I’m planning to have a canvas exhibition in Lyon, France during next Autumn. Finally, I’m planning a very important show at the Contemporary Art Gallery of Rochester, NY, for December 2011. Moreover, I’ve received other proposals for shows and live performances in London, Tallin, Kampur, Sweden, Marseille, Moskow….So, a lot of work to do and stuff to plan, we’ll se if all those engagemets will finally be succesfull.
What’s the best part of being an artist?
The fact that my private and working life are perfectly merged togheter. Sometimes it is difficult for me to distinguish if I’m constantly working or I’m constantly living my own life and my own passions.
How do you keep yourself motivated and your paintings fresh?
When I decided to undertake the artistic career I’ve taken a very riskful choice. In front of risks people always come out with energies that are usually sleeping. Those energies give me everyday the strenght to be creative, productive and motivated… it is a sort of struggle for existence.
Before you put your work “out there”. Do you have it critiqued by someone else, or do you just go with what your heart tells you is right?
I’m very careful to everybody’s suggestion and critics, especially when they can be useful for my personal and professional growth. In any way is always me who choose at the end, I finally come to follow my own intentions and feelings only.
The first artist that comes to your mind in front of your next blank canvas?
Nobody. I take my inspiration from my last works. I try to understand what was wrong with them and to improve it and, on the other hand, what was good and esteemed and I try to deepen my study of it and to elaborate it. Sometimes, I also find stuff on the web and use some art networks to know other people’s works. By the way, I’m not usually interested in who is the author of something good, but on the work itself.
