a)To this question I can answer with a name and a surname:Ettore Sottsass.It a very curious thing,because at that time he was already an old guru of the radical design and it was strange to be received in his study,I was 25 years old,and almost I could not know who he was. Ettore had seen my first booklet published by Frigidaire,and he had wanted to know me,his first words were:’’I don’t know what we’ll do together,but we’ve do something’’,the second words were:’’you’ve to paint on large canvas!’’.I had never done it,it seemed to me a strange thing…He ordered me a large canvas and he gave me an apartment to do it,and as I was not accustomed to work in vertical I painted it lain on the floor.I took a week and I painted a yellow and red city,threatened by an huge black superhero,and he liked it much and for various years the painting was in his home’s entrance-hall,to be replaced by a large Clemente’s canvas,when Ettore decided it was the time of a little o tranquillity.
q) What is your favorite medium?
a)All and nothing,I like the immateriality of the PC as the pen rubs a rough paper,I’m curious for the new materials,modern techniques as the most primitive applications.For long time I’ve been frightened by the tridimensionality,and to start to project seriously for the design’s world I’ve had to kick myself,but now I’ve a better relationship with the mysterious world of the objects .To return to Ettore Sottsass I remember again a talk with him,when with much humility he admitted he had again much to learn on the objects and that it was necessary to respect them.At that time he was already 75’!Now at my young age of 46 I follow this wise thought.
q) Can you describe your process, from the seed of an idea to a complete work?
a)Generally I start with a narrative idea:I’ve the idea of a story and I try to see it realized.Sometimes this story presents itself like a powerful image,and on it I build then a fit framework for it.At the end this procedure helps myself too to self-analyze the reasons of my attraction ,and also to articulate the work.For the comics it’s more simple,because it’s an almost automatic mental form,while for the cycles of the artistical works is more difficult,because it seems to me to have to hide my primordial wish to face the more diverse visual themes(fetish,the wrestling’s wrestlers,the sick toys,the television faces,the old age,ecc…),giving an intellectual and political justification.To say it so it seems to me a very dishonest thing,something like’’I make a little all I like,then I find a way to present the work to spool critics,gallerists and collectors’’,but it’s not so,it’s a procedure useful especially for me to deepen the sense of that I make,because all doesn’t stop itself to a superficial pop-aestetical level.
q) Generally speaking, where do your ideas come from?
a)Sometimes I find them on the way,living in Milan the underground railway is an inexhaustible source of ideas,that sometimes I forget too.Generally I don’t believe in inspiration,also because working with the industry (comics,publicity,design)hardly ever you’ve the time to think and to pull out from the hat the big idea of the century.You’ve to have the ideas even if you’ve the empty head,and with speed:to work submitting your brain to this kind of hard work is a good way to hold it trained.
a)Contrary to what they can think,I’m not never been a big fan of Pop Surrealism,this because I’m never been a fan not even of the old surrealists(I prefer Dada).Mark Ryden is a visionary painter visually very satisfactory,but after a little he bores me.I’m faithful to my love for Joe Coleman,and it’s risky to define this painter as a pop painter,since he’s kept a constant repulsion for the common sense to see.I like Barry McGee,I think he’s very poetic even if he was lost himself a little on the way,I remain absolutely indifferent for the ‘’new graffitists’’,Obey and Miss Van smell of old and the last Gondry’s film(‘’ The Art of The Dream’’)has disappointed me much,but I hope in the future.On the Italian slope I like much Karin Andersen’s work,Enrico Corte,Andrea Nurcis and alas(I say alas because,even if I don’t know him,he’s a little disagreeable to me),Nico Vascellari.On the comics’s slope the stars of Daniel Clowes and Francesca Ghermandi continue to shine(two of the best comics’ books of the last years)and finally new talents begin to emerge,like Maicol and Mirco,Ratigher.Tuono Pettinato,Mr.Pira.I have to say now the Italian underground park begins to be solid and full of proposals,with Costantini’s works,Squaz,Paper Resistance,Spider Jack(Mauro Chiarotto),to quote only some of the authors I know.I don’t forget moreover David Vecchiato’s(Diavù)steady work,who has tried to give cohesion to this underworld exploiting his small space on a magazine with high edition like XL(Repubblica).Now surely they can object that this magazine isn’t surely the most underground space of the world(an edition of a hundreds of thousands of copies)but I answer it’s necessary to become cunning and to learn to exploit the chances,and that if those big idlers of Expresso’s publishing group leave open some cracks it must to take them.At the end it’s how to occupy a establishment ,and as long as the house-owner leave us in peace we self-manage ourselves.However underground now is relly an antihistoric label:are underground Simpson and South Park?
q) Are you represented by a gallery? Do you have any upcoming exhibits?
a)Breaded potatoes in the milk and in the floor and then fried.
b)Distorted and atonal guitar.
c)Beautiful legs with veiled stockings.
d)Inside of a comic-strip magazine just bought.
e)To touch the stripe of the stocking with stripe and the hell and the strengthened tip(better if with leg towards the inside).
q) When have you started using the internet and what role does this form of communication play for you, personally, for your art, and for your business?
A-If I’ve an extreme need of easy money.
B-If the purchaser is an interesting person.
The two reasons have not to be at all costs in combination between them.