PLEASE, INTRODUCE YOURSELF. WHAT'S YOUR BACKGROUND?
I took a coffee before getting on this train. It's the only drug I ever tried and it gives me a cocaine effect so I will answer the questions with arrogance and presumption, how beautiful. I learned to live by being actively part of the 90s punk scene. It was the only place where I could build the life I wanted (and the only one I would have lived) without anyone stressing me out. I already perceived the risk to die in the institutional bureau like 90% of my generation did. The rest of the things I could tell you infant, eduycation, curriculum and whatever, is only relevant for idiots.
HOW DID YOU COME UP WITH STUDIOCROMIE? WOULD YOU LIKE TO TELL THE STORY AND THE MOTIVATIONS BEHIND IT?
It came up as my personal natural extension, part of the absolute need to always just do what I wanted. I'd never accepted any form of subordination to anyone, with STUDIOCROMIE I simply granted myself the right to produce (communicate?) with rage and freedom and make enough money to never think about money.
HOW DID YOU GET IN TOUCH WITH SCREEN PRINTING? WHAT DO YOU LIKE THE MOST ABOUT THIS TECNIQUE?
I had the suspect that it could be versatile and that, once I got out it works, I would have used it in its full potential, ignoring the limits that it would imposed to me time to time. I am still printing nowadays because it surprised me how it is more versatile than I thought and if I think about it that is the only think I stll like about silkscreen: I can do it the way I want to, changing everything time to time. I bended it over and over based on what I needed, getting rid of all the technicality of professionals handbook slaves. In this times where even morons are given the chance to be creative, practice intended as last declination of "fucking around" and "trend", silkscreening gets often used by mediocre people. There's plenty of pretty boys interested in being connected to the medium and say "I am a silkscreen printer, you know.", instead of using it for real. It degrades me, that's for sure, like when you see a girl you like hanging out with a moron but you know she will never have as much fun with him than she would have with you. Poor screen printing.
YOUR EARLIER PROJECT, THE "FAME FESTIVAL" [HANGER FESTIVAL], WAS WELCOME WITH SOME SKEPTICISM BY LOCALS. WHAT FEEDBACK YOU GOT FOR "STUDIOCROMIE", INSTEAD? HOW MUCH ROOM IS GIVEN FOR CREATIVITY IN GROTTAGLIE?
To be honest, Studiocromie was born earlier than Fame, which is instead a product of Studiocromie. Locals didn't know anything about it and, just like back then, today my interlocutor is not the Grottaglie guy. After the initial skepticism, the Grottaglie guy wrongly thought that Fame was a benevolent project, connected to the beauty. I tried to deny this in every way, even by painting enormous dicks in the historical downtown, but I didn't make it. People couldn't believe I was just minding my on dicks (literally) with my town and I had no fear to admit it. Fame was like a megaphone to say whatever came to my (and my friend's) mind. The positive impact (earning?) was just an accidental consequence.
If I could have express myself so noisy with another medium, less beautiful than public art, I would have willingly do it. I always say that if ping pong had the same communicative power of this fucking drawings on the walls I would have put on a ping pong challenge. But no.
So because of this miscommunication with locals I had to leave the public dimension of Fame to retire in the privacy of Studiocromie. As of today there are still many misunderstanding possibilities and maybe outside some frivolous event at the gallery for the exhibitions (that last one evening, I want to say that), the meeting spot has finally come to an end. I say finally because the Grottaglie guy, just like the Apulians, deserves nothing, never, me included. We are individual people and we only work as singular, no one ever gave us something and that's how two Apulians together are two clowns ready to fuck up each other.
Just think that in 12 years of selling paintings all over the world, I sold one in Apulia, last week... But let's go back to Grottaglie.
The room for creativity in Grottaglie is equal to the total absence of istitutions, unable to create in first person (fortunately) and manage what thirds like me do (fortunately).
HOW DO YOU SELECT THE ARTISTS YOU WORK WITH? DO YOU HAVE ANY LANDMARKS FOR WHAT CONCERNS AESTHETIC AND THEMES BEYOND BEING ABLE TO SCREENPRINT THE ARTWORKS?
Some are selected with my heart, some with my eyes. I try not to forget to select them thinking about money e when I want I let myself to be seduced by the trends, for example now the abstract goes hard while 5 years ago everybody was drawing puppets. Sometimes it's nice to work with artists that already have a following, with the rising ones I risk to waist my time talking with collectors. We don't want to teach them anything, right?
THE RELATIONSHIP WITH ARTISTS IS VERY CLOSE, ESPECIALLY WITH THE FOREIGN ONES, WHO ARE DIRECTLY INVITED IN GROTTAGLIE. SHALL WE DEFINE IT AN ARTIST RESIDENCY?
No. We're not talking of an equal collaboration. I am an ignorant but I feel like artists doing residencies always get a lot of freedom and acts in a parasite way, that only those art industry morons can permit. When I deal with people I always say that if I would have wanted to make art or culture I would have do it myself and I'd be the first parasite. We work here, we have fun, we go around, we eat and we live but nobody comes to have his own show at my home, I don't think twice to send them back home.
LET'S TALK ABOUT SANGUE (blood), YOUR CLOTHING BRAND. HOW DID IT COME UP AND WHAT INSPIRES YOUR GRAPHICS?
Sangue is my own crush to test myself in an unknown environment. It worked pretty well and I immediately lose interest in it, I only liked the bet, all about screen printing. It's been a year now that I quit making collections with a regular market deadline without having to humiliate myself talking to some garments dealer. Luckily, at this point, neither I nor you or our readers want to listen talking about fashion world morons. Anyway Sangue keeps going. I bought a new place where I will have my physical store and I'll be able to sell illegally too, just like everybody else does in Italy. Assholes!
Imminent more than future, I am already active. I am about to shoot my second documentary and I am restructuring the place I talked about earlier to make a gallery, cinema, studio, home, guest house, store, garden, pool. An enormous productive potential and the big risk of not being able to get out anymore if not for travelling. Thank you!