today published a preliminary presentation, then that is a question and answer by e-mail with the artist himself, the work of Thomas Ottieri, which devote a large space on the our "Passeur" on the June issue of our Quarterly. Giuseppe di Bella asked some questions to the Neapolitan painter to draw the outlines best critics and creative ideas of his work:
Giuseppe di Bella - How do you put his approach to the medium of painting to the complexity of the space era transformed the technology?
Ottieri Thomas - My works are born from surveys on job I want to portray, where do fast sketches, notes and notes on colors especially make a hundred photographs of the scene a whole and its individual parts. Then, in the studio computer-made images, often hybridizing different scenes together. I mix different pieces, sometimes even in different cities: the one that interests me is the final result, which is almost always clear from the outset. When at last I begin to paint the whole, I do it with a traditional technique of oil paint or encaustic.
In this way it seems to me to use different techniques, such as some modern computer graphics, some very old as the use of oils and pigments for the same one purpose: to communicate the idea of \u200b\u200bthe magnitude man.
gdb - The importance of the sign of "scratching" that enhances and blurs its representations has a purely aesthetic value or meaning properly, that is also semantic and conceptual?
TO - At the end of the session in the studio I work in front of a painted scene in a very realistic way. At that point the gate as possible, mix the color with sponges, brushes, or even with your hands. I seized the color forget the image: in this way free the pictorial material as I can from the "slavery" of the real image, and I get a dough that is halfway between a work of landscape painting, and a sign of abstract material. Everything I put in the service of feeling that I'd put ahead of those who look at the finished work.
GdB - What does it mean for you in terms of urban space again as a new opportunity for discovery and change in the consolidated financial statements?
TO - The space scenes in my paintings are never really correspond to reality: the same prospects are sums of different perspectives. Using parts of buildings for new buildings, and entire parts of the city to get an original scene. Often, for example, I paint the skies are cumulus masses who flinch from explosions or volcanic eruptions, steam or water are no studies on the foam, and the buildings themselves are heterogeneous clusters of scattered pieces. And 'this is why often sew together many flaps canvas, to get the surface to be painted. In the end, remember a kind of Frankenstein spectacular, and will be the memory of the construction process of the image.
GdB - How can the planning of the architect within the painting enters also with regard to scientific parameters, objective?
TO - I started years ago to paint the buildings restored as an architect. It seemed a perfect short circuit: the city was being built in front of me, I saw the hard work of thousands of men over thousands of years, and put your hands as an architect and passionate. Then, the recovery on the canvas and redesigned from scratch. Sometimes my works were placed just inside the buildings that had restored. What seemed like a perfect circle.
GdB - What does it mean for you the relationship between natural and human, but the precarious balance that precious is a place like Venice?
TO - The city is a violent act against the human and creative nature has always been protected, preserved and amplified the best aspirations of men. The balance is almost never been a clear target for those who have built, and yet, over time, and in the best cases, like that of Venice, it has been achieved, because when the creation of man is done well, and his talents are spent without fear of hard work and sacrifice, you get exactly what you get, the nature of every harmony part with all sides.
gdb - The historical traces that influence its course are paintings but also come from other influences: that is, apart from the landscape painting, apart from the landscape, and what art has come into his art?
TO - I know how to build the city I know that inside the walls are the remains of meals of the masons, which ends up in the bottom of every kind of human and animal spirits, and I understand the men unwittingly humble, great thinkers, charming musicians together to leave a trail town. I always think that you can not, in a bit 'of years, see my works without also thinking of the films I'm seeing, I'm listening to the music, the fighting which I am taking part.
GDB - What is the relationship between painting and pleasure?
TO - I have always painted ... I mean, I do always. I have done several jobs for a living, many beautiful, someone a bit 'less, but at the same time I painted tirelessly. I'm lucky to be able to do almost exclusively now I see him as a normal thing, like eating, walking, talking. I can not say if there's pleasure, just do it, as something that belongs to my nature.
GdB - What is the relationship between painting and functionality?
TO - The intention of what I do is the thing for which I am more concerned about other things, always, since childhood. I prayed to teachers, from whom I went to the shop, before you even give me the techniques to clarify a goal, to help me find something to say. One does not want to convince others of what is true what they thought, but wants to give tools to try things that you thought he could try to believe you can do impossible things. How to build cathedrals gigantic, gigantic cities, tall towers, long hands with little more than twenty centimeters.
GdB - How will the dialogue with tradition? (As it is evident that there is one.)
TO - My grandfather was preparing fireworks for religious festivals. Covered the facades of churches and bell towers of colored powders and gunpowder, to fires in the festivals and show people how different their world could become, as powerful, if someone had to hand it to create the artifice that opens the mouths, and heartened the courage of the people. I think I'm trying to do the same thing.
GdB - His eye is deeply human, many artists today want the image as the possibility of ambiguity, illusion, for her or is this assumption tends to nudity?
TO - In my city, Naples, you must keep our guard high: I'd like to think about the illusions, magic and the ambiguities that art can and must give: I'd like to talk about intimacy, sexuality, debunk, defame, persuade and deter. But here, in this war, we have other emergencies. We build what we can to keep us hope, and in the end, some more context can improve the space man, these men, it is already so. Maybe one day, more relaxed, we'll take care of those other issues.
GdB - Sirens In The idea of \u200b\u200bcycle ambiguous, unsettling, fertilization misleading, but deep, seemed to be better, maybe now the eyes tends to be more properly poetic, essential?
TO - Sirens was a series of works on the willpower of men who resist, in times of crisis, war, the difficulty, in every kind of sacrifice and deprivation: huge machines of war hung over parts of cities history, as they are painted nowadays.
I just wanted to write the enormous strength, the stubborn will to survive that we had just two or three generations ago.
Remember when we were strong and were dying for those who could stay. Now, I think I'm dropping hints about what we are today, and as we become, as soon as possible possibile.Queste questions are very beautiful, and 11 is my favorite number.
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