At Galleria Mario Giusti, Milan
Tancredi Fornasetti is a young and ambitious artist from Rome. He recently opened his exhibition Città Invisibili in Galleria Mario Giusti in Milan whereby he presented 20 new geometric works that drag the viewer into the depths of an imaginary architectural world.
Us of WoMA had the immense pleasure to meet and interview Tancredi, who shared with us his artistic vision and offered us key insights on his work.
WoMA: What do you like most about being an artist? And which are the most challenging aspects for you?
First thing that I like about being an artist is simply the freedom to express my own idea of reality. To express the world made of structures and constructions. For me it is a pleasure to build on a white plain space of a canvas an imaginary world that “magically” appears and looks like the real one.
WoMA: Which artists and even philosophers, if any, have had the strongest influence over your style and artistic vision? And why?
Without doubt I was greatly inspired by all the medieval painters like Giotto, Duccio, Masaccio, Masolino, Ambrogio Lorenzetti. Among the modern ones I would name Valerio Adami, Escher, and Achille Perilli. Actually, almost all the artists who used architecture and space as the basis of their artistic research had an impact on my vision.
Regarding philosophical foundations of my works, I would mention Cartesio (René Descartes), for his philosophical-mathematical theories which have been very important for my interpretation of painting.
WoMA: How could you describe the evolution of your style and practice throughout your artistic career?
I started with graffiti. I was particularly keen on studying the evolution of lettering in paintings on city walls. Graffiti, as street art, was very fascinating for me since it embodied the “real”. But at a certain point I realized that the most curious thing about graffiti which attracted my attention the most were not the wall paintings, but the walls themselves! The walls create and feature the city and the space around us, constituting the structures that fill the space and the void. And I started to represent their “soul” with colors, trying to build a new kind of structure and “spaces”.
WoMA: What sparks off your creative process? Are your works logic or inspiration-driven?
I’ve learned to follow my hand. And I’m still learning how to do it. It drives me. It drives my eyes to a picture where every line must follow one another. It’s all aimed at creating a sensible construction.
WoMA: What intrigues you the most in geometric forms? How did buildings and architecture at large become the subject matter of your artistic research?
I think we need to have some kind of “perfection” and pure forms in front of us when we see reality, especially when we see a picture. Sometimes we feel so lonely and lost in the outside confusion. And I believe we need to see something that can give us a certain sense of security. And it is in perfection of lines and purity, and in the determination of plain colors that we have the possibility of finding a sort of protection for our awareness.
WoMA: Your exhibition here in Milan “Città invisibili” brings together a series of bright and lively canvases that depict buildings endowed with soul and personality, from which also transpires a certain sense of positivity. Does this somehow reflect how you wish cities will look like in the future?
Exactly. The answer is in your question. This kind of representation embraces my hope that the world and all things around us can be appreciated for their perfection. It gives them a soul, in which we can contemplate ourselves. It also makes us believe that all kind of answers we are in search of in our lives, in fact, lie in ourselves.
WoMA: In your opinion, to what extent is receiving public acclaim important for an artist? And in what ways does public opinion influence you?
Obviously this is an important step in any artistic career, even if I’m aware that we live in a very diversified world. However, I would not say that public opinion influences me a lot because my studies and my consciousness teach me the right way to work.
WoMA: What are your artistic plans for the nearest future?
I hope to be able to evolve my painting and receive the proper recognition for my works. I would also like to achieve the perfection in the process of execution of my works.