12/25/2022 0 Comments Patrick art of weird![]() The actual photographic work came two years later, and in many ways it summed up the way I perceived life and reality in relation to my family. One of my first works, Famiglia, of 1999, came precisely from these reflections: about how my choices, my decisions, depend on other people and are influenced by them. I thought about how your family could alter and deviate your plans. ![]() I wanted to go to London and I was worried, because for various reasons the trip was in jeopardy. We were having some family problems at the time, nothing really serious, just ordinary issues. ![]() I was at my grandmother’s house with my father. In the summer of ’97, for the first time, I felt the need to involve other persons in a work. Over time this dimension has become a fundamental factor of many of your works. Your early works had a clear aspect of participation, engaging the viewer in a playful way. When I was younger I was more anxious and frenetic, now I am much less so. Worrying about wasting time, in the end, is another waste of time, that generates frenzy. Today, on the other hand, I think it is harmful. Obviously, this sensation of wasting time can be appropriate at a certain age. I wanted to concentrate on my work, and that took me in other directions, far from the classrooms of the academy.ĭid you have the sensation of wasting time? But I thought of the diploma as a formality, I didn’t feel any need for it. I won’t deny the fact that today, thinking back, I should at least have gotten my diploma at the academy. I didn’t think it was important to get a degree at all costs. I had objectives then, or more precisely I had urges. What do you think today about these unfinished paths? Then, once I had arrived at the academy, I had the good luck to have some infinitely interesting classmates, and above all the opportunity to get to know Alberto Garutti, a very important moment for my growth and the growth of my work. That was a fundamental period, it was there that I understood that I could make art. And I remember the lightness and simplicity with which Corrado communicated his knowledge and experience. I have a very happy recollection of the time Corrado introduced me to Carol Rama. His lectures were very moving, very intense. In the course Levi often talked about art, and he made many references to Alighiero Boetti, who was not so familiar to me at the time. Much of what I learned in that course definitely influenced me and convinced me to change. In that period I attended the lectures of Corrado Levi at the School of Architecture. I was undoubtedly influenced by many friends I had then, people I still see. Was there a key person, a teacher, an artist who contributed to this change? Patrick Tuttofuoco, Mia, 2009.Courtesy: Studio Guenzani, Milano From that point on everything was very easy and natural: leaving the architecture school, enrolling at the academy, dropping everything… There are times when what you want to do seems very clear. ![]() Put like that it seems like a very simple, banal passage. Then, conscious that I was not doing what I really wanted to do, I followed my real urge and signed up for art school. ![]() At the time, I felt like I had no energy. At a certain point I began to wonder about what I was doing and I realized there was not any great emotional engagement in it. In that period, I didn’t think I could be an artist. While I was studying architecture I went to see exhibitions and paid attention to art. What made you decide to change your program? It is as if you were already inside a mechanism that sustains you and stimulates you, driven by a strong passion.īefore enrolling at the Brera Fine Arts Academy, you studied at the School of Architecture in Milan, at the Polytechnic. Then, later, when this need takes form, you have to make more precise choices. You begin by responding to a desire, a passion, a curiosity. To be honest, I don’t think you decide to become an artist. After demanding projects like Revolving Landscape, that took him all over the world, Tuttofuoco has decided to shift to a more analytical, introspective attitude, employing the “mask” as a threshold between the self and the world, a focal point from which to begin again, on a new investigation and interpretation of his work… Over time Tuttofuoco has acquired a very original artistic personality, based on a simple credo: art is above all a question of passion. The witness to the change is the city of Berlin, one of the liveliest in Europe. Today it’s Patrick Tuttofuoco’s turn.Ī catalyst of energy and vitality, Patrick Tuttofuoco, after ten years of work, has decided it’s time for a change of key. Once a week, an appointment not to be missed. Forty gripping conversations with the protagonists of contemporary art, design and architecture. In response to great demand, we have decided to publish on our site the long and extraordinary interviews that appeared in the print magazine from 2009 to 2011. ![]()
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