Interview with Stefano Cipollari

Aktualisiert: 15. Dez 2020

We interviewed the artist Stefano Cipollari to talk about himself and his works.

Tell us a few things about yourself, how did you come in touch with art? I came in touch with art by working, which means learning the craft of decorator, which I still do today in scenography. My work has always been related to decoration, I learned the craft on the construction sites immediately after finishing high school. I worked in various environments such as clubs, discos, restaurants and private homes; this allowed me to gain valuable experience and a very mixed knowledge. Initially for me it was a bit like a game, a way to learn about art, the science of colours and painting techniques.

What have been the most significant steps of your artistic path? I have not had any particular steps that have marked points in my artistic progress. But my life itself. Thanks to my work I began to learn enough techniques that allowed me to get into the world of cinema and television.

Which are the artists who have mostly influenced your work? All the artists, that I have known personally and not, have influenced my way of conceiving and feeling life. I could make hundreds of names, but many of them are unknown people. I will just mention some who trained me in my youth: Pasolini, Baudelaire, Rimbaud, Ellis, Kieslowski, Penna.

What is inspiring you? The nature of things inspires me. In my literary growth, of knowledge about the nature of things, there have been several authors who in different ways have influenced me and brought me closer to what attracted me the most. They have all contributed to give me a poetic and dramatic vision of life, a romantic view of joy and pain. An inseparable union, nothing without the other. A contrast that creates the most beautiful harmony. A jarring harmony.

How do you know when one of your works is complete? The oil painting came by itself, but much later. Suddenly I realized that all my thoughts, my vision of life could be revealed in painting. An anthropological vision of the boys I paint; the faces, expressions, gestures, thoughts and fears could be expressed into painting alone. However, all this never has an end because my desire to communicate is perhaps infinite, in an unrestrained and never comforting search. I would say that my works, although completed in the figurative aspect, are actually connected to each other in a long journey that is still far from over.

How much does the historical period in which you live influence your artistic production? The historical period necessarily influences the work I do in painting.

In your work, for example in Thought, there is a sort of "unfinished". What does it come from? Does it have a particular meaning? In making Thought, I realized that it didn't need a face because all it needed was the atmosphere that it has.

We know you are a TV set designer, how does this work influence your art? I'm a set decorator and still working with brushes and colours I keep myself in training; but far from the idea of representing those bodies, those faces in their dramatic composure. Thanks to my work I also joined the world of restoration, always as a decorator. I had the chance to get my hands on things that I never imagined I could even touch. I could make a list of the magnificent locations I had the opportunity to visit, or the artworks I worked on, but I don't want to go on about it too long. All this has, of course, influenced my aesthetic sense and my way of conceiving beauty and this inevitably reflects on my artistic production.

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