FRANCESCO DE PREZZO
INTRODUCE YOURSELF, WHAT'S YOUR BACKGROUND?
My name is Francesco, I live between Milan and Brescia, it all began pretty early. Right after the academy I started traveling a lot, my journey brought to a reduction of the language, and today I realise that this language I created affects my vision of the most inner world, outside the gallery space, the shows and the artworks. I like being alone, I like traveling, I like liquorice candies.
HOW DID YOU GET IN TOUCH WITH THE ART WORLD?
I remember that I started making videos at 8 years old, I had no preferred subject, with a given camera I was shooting everything in a very curious way, sometimes in a static way for many minutes, I was using tons of VHS and it was just a game for me. I remember I used to watch a lot of tv at that time and I was getting angry because I couldn't compete with the quality level of the tv shows, marvellous landscapes, gorgeous close up, great colours, special effects, so one day after many tries I decided to go on being mediocre and just shoot what was around me, the same images that I get back in my painting before they get covered by white, to give them a new possibility of existence.
WHAT DOES IT MEAN TO YOU BEING SUCH A YOUNG ARTIST AND HAVING HAD SHOWS IN INTERNATIONAL LOCATIONS? DO YOU EVER FEEL ANY ART CRITIC JUDGE PRESSURE WHILE MAKING ON A NEW ARTWORK?
Showing in differente realities gives you the possibility to compare you work with an always different audience, and in a field such as art where nothing is static or defined, sometimes you discover things about your works that you did not even know. I am talking about new points of view, new interpretations, this in particular in an international context. I use to be alone in the studio while working, this is fundamental for me, when I am preparing a show I meet a lot of people instead, I don't feel any pressure from judgements, I find them very interesting in fact.
DO YOU BELIEVE THAT AN ARTWORK MUST HAVE AN IMMEDIATE AND UNIQUE INTERPRETATION OR REQUIRE A REASONING? HOW MUCH DO YOU THINK IT'S IMPORTANT, FOR AN ARTIST, TO STIMULATE THE AUDIENCE AND MAKE IT ACTIVELY PART OF THE ART LANGUAGE UNDERSTANDING?
The explanations in art are superfluous most of the times, it's like going to the cinema after a friend told every detail of the movie. Good works speak universally, otherwise it would like denying visual languages autonomy. I believe the audience must elaborate on some matters after looking at a shows, in a different place, not during it. The action of looking is too much important.
WHEN YOU DECIDE WHAT YOU WANT TO COMMUNICATE WITH A WORK, HOW DO YOU FACE THE HOW TO? WHAT ARE THE ELEMENTS DEFINING THE CREATIVE APPROACH THAT FOLLOWS?
I never plan what I want to communicate, I strongly believe in a fluid and unitary conception of art and languages. The best ideas come outside the studio, every thought counts and has consequences, from the most simple events of everyday life to the news or even from movies, from time spent on the pc, everything leaves a small trace of what we do. Even solitude usually helps a lot.
FROM THE VARIOUS MEDIUM YOU USED UNTIL NOW, WHICH ONE STIMULATED YOUR CREATIVITY THE MOST AND WHICH ONE LIMITED YOU?
"Opening possibility" and "limit" are two interesting aspects to make coexist, most of the times the greatest strength of mediums lies on their limits. I think about painting, for example, where the limit is represented by two dimensionality and I always try to indulge and search for this thing.
I'D LIKE YOU TO TALK ABOUT THE WHITE IN YOUR ARTWORKS, AS IT IS THE MAIN THEME OF YOUR ARTWORKS, BOTH AS COLOR AND LIGHT.
White is for me the color of choice for cancellation, beyond usual symbologies, beyond conventions, white always represented for me the end and the beginning at the same time for the things existence. My works, paintings in particular, start from a white canvas to end as white canvas, but is the sentence in between the most interesting one. Spending a lot of time on a surface painting the reality around to reset the result with a couple of wall paint brushe strokes is a weakness I can't deny to myself, every time.
I am preparing a personal exhibition in an historical palace here in Italy, in Brescia. Wonderful city.