The eXTra finGer

...''He was counting on his fingers.One two three four five six seven eight nine ten eleven.Eleven?Had he been born with an extra finger?''...

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Location: Italy

...& visit my web sites: Claudio Parentela's Official Site ''Claudio Parentela:Contemporary Art with a Freakish Taste!'' Lights&Shadows Disturbing Black Inks


Thursday, November 22, 2007

Interview with Chuck Hodi

q)Something on you ….

a)My name is Chuck Hodi, I live in the Los Angeles area. I work with charcoal and pastels. I guess I would be considered a Dark Artist and a True Crime, Portrait Artist. I create two types of art; my dark art which I call “Corrosion Art” that consists of decay, death, and rotten themes with a semi beautiful twist, and my True Crime art which is portraits of Serial Killers and commission work.

q) When did you start to make art?

a)I started drawing during my senior year of high school and began taking my art a little more seriously last year, 2006.

q)Explain your inspiration?

a)I would have to admit that industrial music is my main inspiration. It really helps me get those dark ideas out. Basically what ever music I’m listening to at the time inspires me the most.

q) In what way does your inspiration transform into ideas?

a)What I hear helps me visually.

q) Could your ideas be portrayed in any other medium? If so which?

a)Besides a kick ass art piece that you can hang on your wall? Hmm, anything you want it to be; album cover, flier, poster, comic book, toilet paper, what ever!

q) What does being an artists mean to you?

a)Make a living off your art.

q) When does your art become successful?

a)I would have to say in February of 2007, when I had my first solo show at the Hyaena Gallery in Burbank, Ca. It was a Serial Killer show.

q) Who prices your work? And how is the price decided upon?

a)I price my work. I always want to keep my work affordable so people like me can buy it. It all depends how much time and money I spend on a piece.

q) What is your next; move,project,show etc?

a)I have no idea. If I don’t have any dreams, I can’t fail right? Haha!

q) What are the pros and cons of the art market?

a)Pros? You mean there are pros in the art market? Actually the only gallery I prefer having my art at is the Hyaena Gallery. I show at other galleries once in while, but very rarely. Other than that, I’m my own businessman. I find it best that way, at least for me.

q) Which pieces would you like to be remembered for?

a)That’s a weird question because most of the pieces that I hate, most people seem love and vice versa. I don’t know, pick one!

q) Who has been the biggest influence on you?
a)To tell you the truth, the people that commission me are the biggest influence. They let me know what they want and I find it a challenge that is fairly rewarding in the end. It helps me as an artist by trying new things.

q)Other visual artists that you like…

a)My favourite artist has been Menglef for 7 years now. To me, he is a “true artist”.

q) How much do you think hype affects the public perception of what good art is?

a)Beats me! Any exposure is good exposure, whether positive or negative.

q) Last CD you downloaded ?

a)Downloaded? I don’t do that! That’s illegal! Last CD I listened to was Dawn of Ashes – Crypt Injection

q) What makes you happy?

a)Selling my art or getting commissions makes me truly happy because it shows that someone actually likes my art enough buy it!

q) What makes you sad?

a)My day job.

q) Last book you read?

a)The Satanic Bible by Anton LaVey.

q) What else do like other than art?

a)I’m big fan of serial killers and my hot and talented girlfriend!

q) Final thoughts...

a)Not at the moment.

q)Your contacts…


Tuesday, November 13, 2007

Interview with Shawna Mouser

q)Well, first of all please tell us a little about yourself.

a)I was born January 20th, 1971 in the San Francisco Bay Area. My dad says there was a diarrhea epidemic that day and the maternity ward was quarantined so he had to sit in the waiting area. My mom says after I was born, she struggled with my dad to stop him from throwing my birth certificate out of the window of the truck in the highway. He didn’t want me to be in the system. And so it began….I was ‘Baby Girl Alexander-Mouser” at the hospital and remained nameless—or as “Womb-Lander”—for an unknown period of days/weeks/months until I was ultimately called “Shawna”. I live in Texas now and since I was a baby. We drink Dr. Pepper back to 4 generations. I’m a Houstonian, a few generations deep.I like multiplicity, accidents and alterations, in art, in life. I believed in boredom in my early teens, then I figured out that boredom is a dumb excuse for nothing and there is little time in life for nothing to happen.
I’ve never been able to sit still.
I was the kid who always spilled her milk.
I can’t wear white and you probably shouldn’t wear white around me.
I bump my head a lot, fortunately I inherited a very hard head.
I’ve been told by my Granny a million times that I “giggle too much.” On my birthday the year she died, she called me and told me that I always giggled too much when I was a kid. I giggled over the phone. She told me I still giggle too much and that I should never stop giggling. I haven’t stopped.
I like intuition but I can be a really bad listener.
I give really good advice to my friends that I often fail to apply to my own life.
I think I know it all, but I still make dumb mistakes regardless of how I thought I just knew it would be in the end.
I’m pretty okay at starting over.
Rebuilding is equivocal to building.
I’ve learned the most in hindsight, yet I still manage to ignore what I know.

I know that when I don’t make art, I get really frustrated with life’s chaos. I need art to help me keep my life in order.

I consider myself a maximalist……or a happy accident.

q)How would you describe your work?

a)Patterns and pieces of stories, possibilities, past and future memories, sliced up with an ex-acto and pieced back together into a changed perspective. I like to mix the old with the new. I like blurry timelines. I teeter between 2-D and 3-D work, 21/2 – D collages and 3-d people out of clothes from the thrift store. I turn into these empty life-sized forms. My long-term plan is to make a crowd of people for a large installation. I’ve made a few so far…”the Perfect Mail Order Husband”, “Candy, “Adam and Eve” etc….I’m working on “The Perfect Mail Order Bride” and “A Year of Centerfolds”.

q)Did somebody encourage you to be an artist?

a)Most definitely. I grew up in a multi-media existence – with A/V geeks, musicians, performers, rebels, craftsmen, painters, thinkers, builders, architects, chefs, seamstresses, teachers, needle-pointers, dreamers, writers, readers, perfectionists, doers, makers, failures, rock-stars, troubled geniuses, realists,...and on and on and on. I was surrounded by talented and amazing people. There are some definite key players instrumental to my artistic faith - parents, grandparents, teachers from elementary on to professors in college, friends, the 14 foot by 7 inch co-op, lovers, blood lines…My Granddaddy Bliss amazed me. He painted these beautifully emotionally ominous paintings of Ozark landscapes. His paintings moved me and still do. When I was a girl and I used to scuttle about his studio and touch his paintings and his brushes…I’d smell them, admire them. My Grandmother Brickey taught me the difference between “naked” and “nude” when I asked her about the “naked lady” paintings in her house. She was the one who sent me to classes at Glassell when I was a kid. I’ve always felt that those classes really taught me to see and I started learning how to turn what I felt and envisioned into an art form. I really learned that art has no boundaries.
It was a no-brainer for me to choose Studio Art as a major when I entered college. My dad was a huge supporter and still is. I like the look in his eye when he sees I’ve been making art. That gleam went away for a long while…he wasn’t too happy with me when I dropped out of college one year shy of a degree because I decided that art does not require a degree. I know why the look went away for him because in hindsight, this wasn’t the best idea I ever had. I stopped making art for about 6/7 years. I quit with huge ideas and then life took over the idea and my perceptions changed full of baby accidentally. I soon lived as a single mom with babies and arms full, full-time corporate job and I claimed to not have the time for art. Doug Michels came to dinner at my parent’s house and saw some of my work there and asked to see more. He visited me for show and tell and I showed him all the work I did in college. He asked me why I wasn’t making art? And I shrugged and said I didn’t have enough time. “Maybe I’ll make art again when the kids are 18.” He waved a smiling finger at me and said “There is always time for art, Shawna and you should be making art.” He didn’t blink until I agreed. So I did it. I planned my dates with my muse and reunited with “Mr. Art” on the weekends. I’d put the kids to bed, drink a bucket of coffee and stay up all night making art. Doug was right - there was time for making art. Doug died in 2003 and I keep his picture over my drafting table – he still keeps me in check. He’s my “Mr. Art”.

q)What is your favorite medium?

a)Gloss medium.
It’s great – non-toxic, rubbery, clear, water-resistant. You can spray some of my pieces off with the garden hose and do no damage!
I like to work with found stuff…images from books, magazines, encyclopedias, medical journals, ARTifacts, old junk, scraps of stuff.

q)Can you describe your process from the seed of an idea to a complete work?
a)I can’t always keep up with my ideas and life can get really seedy at times, so I try to write these things down. I keep lists and files and stuff. I have a lot of stories in my brain.

Sometimes I research an idea – focus on the meaning in very vague/broad terms. I scribble crazy notes about a topic in my sketchbook and I start applying symbols and metaphor to the verbal story. I might tuck it away for awhile…digest it…or I might jump right into my collage files and books and magazines and start pulling out images.

Other times, I start by digging through images and files and what I find becomes the idea – response to something I don’t know of until all is done and I know exactly what it means.

My ideas require a lot of reverse thinking to come to fruition and the words/meaning sometimes disappear until the piece is done.

It helps to be a pack-rat.

q)Generally speaking, where do your ideas come from?

a)Human behavior.
Inhuman behavior.
The people I meet, the stories I hear, my experiences, their experiences.
Human experience.
Inhuman experience.

q)How long does it take to complete a piece?

a)Sometimes instamatically, Sometimes years. I may start something and then loose touch with some feeling about it, become detached and walk away from it for awhile. Later, I come back with a new point of view. I have some things that will take forever to finish.

q)Who are some of your favorite artists?

a)I can never answer this question appropriately because my “favorites” encompass a multi-faceted area if interests….art is a very broad thing to me, “artist” a broad possibility, an entire existence of beings from all “disciplines” and ideas….I love thought and the responses to an idea/life. Art is a scientific method in itself – if you were able to really sew the heart and brain into one piece…oh rambling on and on..”favorite artists?” well….genres and groups – I love Dadaism, Surrealism, German Expressionism, mythology, the blurred lines between myth and catholicism found in Rennaissance art...I love Eastern religious icons. I love anatomists and musicians and dreamers and I could go on and on and on…I love sattire, concept, structure, emotion, movement, etc……my most favorite artists are the people who’s life line’s I’ve criss-crossed with in person in some way, shape or form.

q)Are you represented by a gallery? Do you have any upcoming exhibits?

a)No. and yes…..I like group or small intimate shows where people talk about the art or where the art gives people more to talk about life in general. “Exhibits” freak me out. I always think an exhibit is for dead people.
I do have a few shows coming up…I have a piece to be published in the Knock Magazine #8 – out of Antioch University Seattle – released in December 2008… and I will be showing with Michael Ableman and another artist in Austin at Debra Madsen Gallery in January 2008. This year also marks the end of Proper Gander (wah! Wah! Wah!) and we will have an art party in early December. It will be a sad happy affair, I’m sure.

q)Do you have any “studio rituals”? As in, do you listen to certain types of music while working? What helps you get in the mood for working?

a)Stress, as much as I hate to admit it, usually is what gets me in the mood for working. Oh goodness, that sounds miserable…maybe what I mean to say is pressure…but I’m almost always under some sort of pressure (aren’t we all?).
Working is often a moody thing. It always involves music, which always depends on the mood which is very undependable. I need space to freely release the pressure. Space is my ritual.

q)What is your favorite a) taste b) sound c) sight d) smell e) tactile sensation?

a)I love sensationalism. I like the taste, sound, sight, smell and tactile sensations that exist inside of being and doing.
I like the feeling of my exacto with a clean new blade cutting through paper.

q)Do you have goals that you are trying to reach as an artist, what is your drive? What would you like to accomplish in your profession?

a)I work to make sure art is not my profession so I don’t stray from my goal of art for art’s sake, driven by the heART and not the $money.

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)I remember a time before the internet when I felt more connected to people personally. I may have been closely connected in a smaller circle. These days, I feel connected to a larger circle of people who are at somewhat of a distance. I think I’ve adjusted well enough. The internet used to be a great tool for research…it excited me, but seems now a tool for selling and buying. I do like the internet for the information exchange that can happen between other artists and exposure to so much more…just seems now it’s the needle in the haystack syndrome when before I felt part of a haystack full of needles in my hand. It can distract me away from work, the internet, it can get overwhelming...I hate the things people can do to hurt people through the internet . rabbit holes, portals, easy access, Oh what a twisted and tangled worldwide web we weave!

q)What do you obsess over?

a)Hahahahahahahahahaha!!!!! “What don’t I obsess over?” is probably easier to answer. I obsess over stuff…lots of it. I collect and obsess compulsively. My whole life can be in shambles, but my cd’s and records will be perfectly categorized and turned facing the same direction. My clothes will be hanging in the closet by order of color and length and type (long-sleaved, short-sleaved, coats, short dresses, long dresess, short skirts, long skirts, pants, etc…) but my laundry pile reaches the sky and the dishes are all dirty from weeks ago. My car is notoriously full of trash and stuff ….my car caught on fire and burned from the inside out in the middle of the night in ’92 from a cigarette butt because inside it was a paper fire trap on wheels.
I obsess over time. I like for every clock to be a different measure of fast so that I always feel on time. Cell phones show the real time via satellite and this really bothers me daily.

q)Do you have preferred working hours? Do you pay attention to the time of day or maybe specific lighting?

a)I take as many spots that open up at random as I can. I make sure to set aside time-specific if it isn’t happening on its own…two kids, full-time day job, and other juggling acts can sometimes keep me from art…so I have to make time away or work around a multitude of factors. It seems to always happen just in time, though. I work best under deadlines and pressure. It gives me plenty of time to procrastinate (think) in between.

q)Do you do commissioned works?

a)I can/will/have. I prefer non-specific commissions with room for plenty of artistic freedom of choice.

q)Any tips for emerging artists?

a)Stick to your vision and don’t let unconstructive criticism cloud your perspective. There is a lot of art in the word heART.

q)Contact info…


Thursday, November 08, 2007

Interview with Martin Wittfooth

q)Something on you ….When did you start to make art?

a)I’ve had a pencil or paintbrush or other vandalism tool in my hand for as long as I can remember, but turned on to art as something I wanted to pursue professionally when I was in my mid-teens or sometime around then.

q)Explain your inspiration?

a)I get my inspiration from all over the place. Mainly the current world around us, contemporary topics, news, issues, what people are talking about. I live close to a plethora of galleries and huge museums like the Metropolitan Museum of Art, so if I’m ever in an inspiration-funk I go there or check out an ongoing artshow. There’s no lack of wells of inspiration in New York… that’s one of the reasons I love it here.

q) In what way does your inspiration transform into ideas?

a)I’m very drawn to symbolism. I aim to transfer those topics that I feel inspired to talk about in my work into visual language by way of using symbols: alluding to these ideas with imagery that is suggestive rather than narrative.

q) Could your ideas be portrayed in any other medium? If so which?

a)Maybe pen and ink... I’ve been working on some pieces in black and white, and feel a fresh departure there, but I don’t think I’ll be able to capture exactly the same atmosphere in anything but oils.

q) What does being an artists mean to you?

a)Struggle. Progression. Freedom. Happiness. More struggle.

q) When does your art become successful?

a)When I frame it.

q) Who prices your work? And how is the price decided upon?

a)Usually I set a price, that then may be slightly adjusted by the gallery with which I’m preparing a show. I tend to research the price level of galleries prior to showing with them to determine the ballpark at which I should realistically set my prices. The size and complexity of the work also plays a factor.

q) What is your next; move,project,show etc?

a)There’s a pretty long list of upcoming shows on the horizon. Some larger group shows all over the place, a smaller group show in Toronto in March 2008 with Ray Caesar and a couple of other artists, a solo show in Beverly Hills at The Conference Room gallery in May 2008, and two two-person shows with my friend Jon Todd in Arizona and Montreal in late 2008 and mid-2009 for which we’re painting a few collaborative works, along with a book launch and some other side-projects.

q) What are the pros and cons of the art market?

a)The pros of the art market is that there is a market for art, and you can earn a living at this thing. The cons include large commission fees, fronting large sums to prepare, frame, and ship your artwork with no guarantee of a return of that investment, the instability of paychecks, and the way the art market tends to be very trend-focused.

q) Which pieces would you like to be remembered for?

a)Ones that I have yet to paint.

q) Who has been the biggest influence on you?

a)Probably my college instructor Paul Dallas, who gave my wild pipe dream of making a living as an artist hope with his advice and support.

q)Other visual artists that you like…

a)Todd Schorr, Jeff Soto, Joe Sorren, Eric White, Mark Ryden, Hieronymus Bosch, Peter Brueghel the Elder, Rembrandt, Chris Mars, Jon Todd, the list goes on…

q) How much do you think hype affects the public perception of what good art is?

a)I think hype influences public perception of art in a huge way. This is why we have trends, often saturated with art that has very little standalone validity or lacks in innovation, but is recognized and hyped about because it fits a popular style. It’s pretty frustrating to see sometimes, but then again it’s also interesting in that it reinforces the idea of the power of art in influencing people: one artist can spawn an entire movement simply by virtue of a pioneering vision.

q) Last CD you downloaded ?

a)Ratatat Remixes.

q) What makes you happy?

a)Waking up beside my girlfriend. Shopping for frames. A good paint stroke. Portrait painting.

q) What makes you sad?

a)Bills. Having to drive for hours to get out into real, untouched nature. Cancer. Shit, there’s a ton of stuff out there that makes me sad. This is probably why I paint, takes the mind off.

q) Last book you read?

a)The Fuckup by Arthur Narsesian

q) What else do like other than art?

a)Guitar playing, some music production doodling, and cooking.

q) Final thoughts...

a)Thanks for listening.

q)Your contacts…


Friday, November 02, 2007

Interview with Massimo Giacon

q) Well, first of all please tell us a little about yourself.

a)The name,surname and date of birth should be already known,therefore I had to avoid to repeat myself,but since the introductions are ritual forms I should do like the anonymous-alcoholists and to greet so:my name is Massimo Giacon,and I’m an artist(applauses of encouragement follow).Once I was very reluctant to define myself so,but since my activity is multiple(painter,performer,musician,designer,cartoonist),at the end I say I do the artist so I save time.Sometimes I use my various definitions in instrumental way:if I want to be considered respectable I say I’m a designer,if I want to stimulate curiosity I define myself cartoonist,if I don’t want they ask me if I draw Dylan Dog I say I’m a graphic.To tell the truth I use not much the term artist:when you define yourself so you seem often like a poor stupid ,according to the ‘’phisique role’’ you’ve.

q)How would you describe your work?

a)I work like a filter.All I go to cross is transformed by my sensitivity.I realize that this might say of every human being on the earth,at the end also a plumber transforms a tubo according his sensitivity,and his skill causes that tube becomes something of very important for who has to drink or to wash himself.Many describe my work in the’’New Pop’’ or ‘’Extreme Pop’’ current,but I disagree.I’ve the presumption to think that in my things there is a self-conscious and political attitude more acid than the carefree American artists.I think many of pop surrealists’ works are extraordinary from the formal point,but very often they remain the artistic expressions of big childs that don’t want to grow and since many of these artists have more than fifty years I find the thing riicolous and sometimes irritating.

q) Did somebody encourage you to become an artist?

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.

q) How long does it take to complete a piece?

a)Since 5 minutes to 5 years.Working with so many different medias it’s exactly so.There is the immediacy of the pencil on paper,while for design the productive process can be tortuous and very slow.

q) Who are your favorite artists…and who are some artists you are currently looking/listening to?

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)I continue to work with the Gallery LipanjePuntin in Trieste and I’ve in schedule to work with Gallery Guidi and Shoen of Genoa,I’ve a collective to Gallery Contemporanea of Pescara,I’ll have a big personal show during the Salone del Mobile in Milan,on 2008.

q) Do you have any 'studio rituals'? As in, do you listen to certain types of music while working? What helps to get you in the mood for working?

a)Generally I’ve the TV or the radio on all the time.I listen rarely the music I love when I work,I prefer to do to permeate myself from the informations’ stream,and I absorb them also unconsciously.To work in a state of trance with the prefered music at high volume seems to me a big waste of time.If I must to face some hard works I’ve before to clean the home(or the study).

q) What is your favorite a) taste, b) sound, c) sight, d) smell, and e) tactile sensation?

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) Do you have goals that you are trying to reach as an artist, what is your 'drive'? What would you like to accomplish in your 'profession'?

a)I should like to have the possibility to continue to live by my work,of the possibility to represent my internal universe finding interested people to share it,this naturally after conquered the earth and destroyed the known civilization,ach!

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)I’ve not a blog,I’ve not a site,I’ve not a space on Flickr nor on MySpace.Therefore pratically I don’t exist.Maybe a future where don’t appear it wants to say to be somebody, a little like the celebrities that don’t appear on the telephone directory.This after the next war among who’s been in television and who not.

q) What do you obsess over?

a)The shoe.A shoe doesn’t to go correctly with the person that takes it modifies immediately my simpaties.It doesn’t want to say it has to be at all costs a beautiful shoe,it has to be the right shoe,all here

q) Do you have prefered working hours? Do you pay attention to the time of the day or maybe specific lighting?

a)I prefer to work towards evening and in the night.It’s finally a space all mine as much as till they don’t cancel completely the division of operativity between wakefulness and sleep,and in the big cities they’re arriving there very slowly.

q) Do you do commissioned works?

a)Yes,but with moderation,in the sense that I do only for two reasons.
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.

q) Any tips for emerging artists?

a)Don’t buy nor read ‘’Advices for young artists’’ of Damien Hirst.Considered his present results(the quality of the work,not the quotations),it’s a very bad guru to follow.For the truth this manual has been written rightly to take all as a joke,but I see many young artists follow it to the letter.

q)…Your contacts