Written by Monica Camozzi
Photos by Luca De Nardo
Fragments of reality mediated by the retina, the intellect, the soul. If it is true that 90% of our actions are guided by the unconscious, the works of Giorgio Restelli, in art Giores, confirm the assumption. The material transposition of the dream, of the passion for travel, of restlessness, becomes a visual tale.
Photography is the primary driving force behind a journey that began many years ago and originated in the inner journey that each artist substantiates. It is precisely the shots produced in progress, for years, around the world, that have been the emotional background on which the whole expressive canvas is grafted.
“The first book published with Electa years ago was based on my photographic works,” he reports, as you imagine him super-stylish in a fitted jacket, in the office where he is art director of Mediaset, animated by the institutional role he holds and the boundless freedom of the artist.
Where did you find the time to devote yourself to art?
I used to paint at night at home, then slowly the path became defined. It is not a hobby, it never was, I consider it a parallel work, which developed osmotically to my passion for photography.
So, photography, is it really such a meaningful part of your life?
Yes, my family of origin took me travelling a lot from a very young age and I have always had a natural inclination towards photography, which I have followed throughout its evolution, from film to digital to which I have ‘bowed’ even though, for goodness sake, I don’t want to be a purist. I love photographing detail: my first book was made up of close-ups of walls, walls, doors, with the common thread of colour as the connecting element.
You transform images into almost metaphysical assemblages, what technique do you use?
The technique is the result of the evolution of twenty years, of constant research that leads me to use enamels, sands, acrylics, tempera. An instinctual synthesis, a bit as my photos are. The founding principle is always the large size, I print the photo on canvas and then proceed in an almost ‘Pollockian’ manner.
A passion that led you to the talent hub that is the Lambretto Factory….
Yes, I created it together with Giulio Gipponi, as a nest, a work base and also an exhibition space where we welcome promising young artists, talents that we identify with. Now we are moving from the old premises in Lambrate to the new one, in San Maurizio al Lambro. We have been working on it for a year. Lambretto Factory will take on the connotations of an international space, similar to those you might find in Miami.
How many guys are currently in the hub?
At the moment five. It’s great to see them talking, comparing themselves. But in addition to the new talents, we have a range of representation from international artists. In contemporary art, you can’t disregard your own taste to make a selection. Therefore, the criterion by which we make our selection is that of appreciation, of the feeling it arouses in us.
What do you think about artificial intelligence?
It scares the hell out of me, by that I don’t want to dismiss anything. We used to argue about digital and now it is intrinsic to our lives. I have some reticence about delegating pieces of life to algorithmic matrices, entrusting to quantitative mathematical processes what should come from human beings.
What are your plans for Lambretto?
Many! During Expo we did a group show, naming it Gli Eclettici, a catalogue published by Skira. For months an exhibition was on air, dedicated to Giorgio Faletti as a symbol of contemporary eclecticism. We would like to continue in that direction, we are planning The Eclectics 2.
How about you? Any other solo shows planned?
Honestly yes, I can’t reveal the common denominator that the exhibition will have yet. I just feel a great desire to open the paint cans again and start working on it! But to fuel the inspiration, I have to start travelling again. The first place I have on my list is Japan. But I am also attracted to the Pan-American route, starting in Canada and ending in Chile.