Franco Meloni, the artist develops the themes of the sub unconscious dialogue with sensitivity. Take a deep search for irregularities dreams. His is an artistic approach that looks into the distance, until the imagery of the mind, beyond belief …
For Franco Meloni what it means to paint, what is your language?
For me it is a primary need. Painting means telling myself and my emotions, facts that strike me intimately, through images that come directly from my unconscious and that guide my production. Most of the time images are already determined in form and color, which I feel I must represent. The language they use is devoid of specific rules and for that I think we can approach the dream language.
Remember his reflection when he set the first opera?
Yes … I remember …. I was in the throes of emotion between tears and laughter. Then the tears prevailed, and again a big laugh. I spent a few days to contemplate the work I had done, then I thought he was ready to quit the study. Well I returned the energy that had given him. If this does not occur to me the work can not be regarded as such and not explain it.
In his works there is a point of surrealism, refers to this current?
Surrealism has always fascinated me as indeed also many other movements, which have subsequently contaminate my work, but I do not think they belong to this current. When I started painting I was completely ignorant of everything. I’ve found myself slowly and the entrance to the painting was traumatic for me. I think that within my work can be found many quotes ranging from art to surrealism and visionary art raw. I confess I do not like categories, but we can not do without.
In its expressiveness is born before painting or sculpture?
Surely it is born before the drawing and then painting and follow the sculpture. At first I used the oil pastels, because I liked the feel of direct contact with matter. Brushes always create a certain distance, that’s particularly nervous because when I work with clay that allows me to download the negative emotions. When I paint sometimes can not resist the temptation to destroy the work. I think that the destruction, meaning courage to cross the limits, always something good can emerge and unexpected. Only when I can balance all the elements of the work I am doing. I like smudging, things out of place, everything is not perfect. In the irregularity is a deep sense of authenticity.
Melons research and experiments with new techniques?
I like to use new techniques and materials, but to organizational issues at the moment I can not go beyond what I do. My approach to creative design is the typical attitude of a child who is hungry for information. I see and hear what is around me and forfeited, then begin to eliminate what I liked. Surely, unconsciously, I gather all in one predominant image, I feel the need of having to represent. From there.
Where do you find inspiration?
I find inspiration from what happens to me in everyday life and from my past. I like to go into unknown territories of the mind where I can grab images for brief moments that seem to come from the collective unconscious.
As in any field, even in art there are no rules of marketing and “product”, as she encountered difficulties in being an artist today to know?
It is right and I believe these rules may be castrating if you do not want to submit to the market, because it has something to say with their own mode of expression that is perhaps at odds with the artistic trend of the moment. This tendency often borders on the design and may be lacking in content. For me it would be more interesting than the industry bring to an emphasis on creativity, rather than on the aesthetic beauty of a work that harmonizes with the surrounding environment. The risk is to generate real bubbles. Difficulties for the artists are mostly economic in nature and accessibility to the market that counts.
The galleries are investing in the young contemporary artists?
It ‘hard to find galleries that invest in the young artist, risking capital and credibility, this was mainly through the figure of the merchant. The galleries do not invest on artists they consider very durable in the market and not economically viable. Many dealers think immediately realizable, but we must wait and give confidence. An artist may decide to permanently abandon its production at any time for various reasons. But it is only in perseverance and determination in their work that may emerge among many. Today is the beginning artist who is betting on himself. There is a trend reversal. It ‘an unequal battle but the harsh reality of business. The road is very long and certainly the liberation takes place after many years of hard work, if it occurs.
Today there is a new trend, several artists exhibit in the streets or squares, what do you think?
It can be fun but you may run the risk of being misunderstood as if you were going to the markets. Always depends on the strategy that the artist decides to put in place to become visible and the type of work that produces and who ultimately organized the exhibition square. The visitor target changes depending on the location. However, the road is a way to reclaim the territory. It ‘a way of saying I exist.
For Meloni, 2009 an important year: Exhibition in Beijing (China) Collective: “Realm of Invention” to the “NY Arts Beijing Space,” and participation in collective “Unfiltered IV Industrial Projects Gallery, Detroit, opens a new path on the international scene?
Certainly China is an attractive market and is catching on with the U.S. even though New York remains the hub of contemporary art around the world. I’m glad some of my work will be permanently exhibited in NY Arts Beijing Collection, because I think that may be well accepted by Chinese culture. As for Detroit show is a segment in which I participate a few years. I liked especially the choice of location, an old industry reclassified, now used for art events. These are not my first shows outside Europe. In fact I like to confront me and contaminates from cultures different from mine. For some time now have relations with foreign artists and gallery owners, which allow to develop my artistic experience and enriches me personally and professionally.
There is a place of art that fascinates you so special?
Surely New York! It’s very fascinating, surprising, where anything can happen both positively and negatively. When I was there in 2008, during a show, I tried both a series of conflicting emotions because of the strong contrasts in the city perceived as fear and joy, insecurity, security, loss and awareness . New York is a drug in its pure state is very challenging on all fronts, certainly from a lot of energy.
Franco Meloni, the artist develops the themes of the sub unconscious dialogue with sensitivity. Take a deep search for irregularities dreams. His is an artistic approach that looks into the distance, until the imagery of the mind, beyond belief …
For Franco Meloni what it means to paint, what is your language?
For me it is a primary need. Painting means telling myself and my emotions, facts that strike me intimately, through images that come directly from my unconscious and that guide my production. Most of the time images are already determined in form and color, which I feel I must represent. The language they use is devoid of specific rules and for that I think we can approach the dream language.
Remember his reflection when he set the first opera?
Yes … I remember …. I was in the throes of emotion between tears and laughter. Then the tears prevailed, and again a big laugh. I spent a few days to contemplate the work I had done, then I thought he was ready to quit the study. Well I returned the energy that had given him. If this does not occur to me the work can not be regarded as such and not explain it.
In his works there is a point of surrealism, refers to this current?
Surrealism has always fascinated me as indeed also many other movements, which have subsequently contaminate my work, but I do not think they belong to this current. When I started painting I was completely ignorant of everything. I’ve found myself slowly and the entrance to the painting was traumatic for me. I think that within my work can be found many quotes ranging from art to surrealism and visionary art raw. I confess I do not like categories, but we can not do without.
In its expressiveness is born before painting or sculpture?
Surely it is born before the drawing and then painting and follow the sculpture. At first I used the oil pastels, because I liked the feel of direct contact with matter. Brushes always create a certain distance, that’s particularly nervous because when I work with clay that allows me to download the negative emotions. When I paint sometimes can not resist the temptation to destroy the work. I think that the destruction, meaning courage to cross the limits, always something good can emerge and unexpected. Only when I can balance all the elements of the work I am doing. I like smudging, things out of place, everything is not perfect. In the irregularity is a deep sense of authenticity.
Melons research and experiments with new techniques?
I like to use new techniques and materials, but to organizational issues at the moment I can not go beyond what I do. My approach to creative design is the typical attitude of a child who is hungry for information. I see and hear what is around me and forfeited, then begin to eliminate what I liked. Surely, unconsciously, I gather all in one predominant image, I feel the need of having to represent. From there.
Where do you find inspiration?
I find inspiration from what happens to me in everyday life and from my past. I like to go into unknown territories of the mind where I can grab images for brief moments that seem to come from the collective unconscious.
As in any field, even in art there are no rules of marketing and “product”, as she encountered difficulties in being an artist today to know?
It is right and I believe these rules may be castrating if you do not want to submit to the market, because it has something to say with their own mode of expression that is perhaps at odds with the artistic trend of the moment. This tendency often borders on the design and may be lacking in content. For me it would be more interesting than the industry bring to an emphasis on creativity, rather than on the aesthetic beauty of a work that harmonizes with the surrounding environment. The risk is to generate real bubbles. Difficulties for the artists are mostly economic in nature and accessibility to the market that counts.
The galleries are investing in the young contemporary artists?
It ‘hard to find galleries that invest in the young artist, risking capital and credibility, this was mainly through the figure of the merchant. The galleries do not invest on artists they consider very durable in the market and not economically viable. Many dealers think immediately realizable, but we must wait and give confidence. An artist may decide to permanently abandon its production at any time for various reasons. But it is only in perseverance and determination in their work that may emerge among many. Today is the beginning artist who is betting on himself. There is a trend reversal. It ‘an unequal battle but the harsh reality of business. The road is very long and certainly the liberation takes place after many years of hard work, if it occurs.
Today there is a new trend, several artists exhibit in the streets or squares, what do you think?
It can be fun but you may run the risk of being misunderstood as if you were going to the markets. Always depends on the strategy that the artist decides to put in place to become visible and the type of work that produces and who ultimately organized the exhibition square. The visitor target changes depending on the location. However, the road is a way to reclaim the territory. It ‘a way of saying I exist.
For Meloni, 2009 an important year: Exhibition in Beijing (China) Collective: “Realm of Invention” to the “NY Arts Beijing Space,” and participation in collective “Unfiltered IV Industrial Projects Gallery, Detroit, opens a new path on the international scene?
Certainly China is an attractive market and is catching on with the U.S. even though New York remains the hub of contemporary art around the world. I’m glad some of my work will be permanently exhibited in NY Arts Beijing Collection, because I think that may be well accepted by Chinese culture. As for Detroit show is a segment in which I participate a few years. I liked especially the choice of location, an old industry reclassified, now used for art events. These are not my first shows outside Europe. In fact I like to confront me and contaminates from cultures different from mine. For some time now have relations with foreign artists and gallery owners, which allow to develop my artistic experience and enriches me personally and professionally.
There is a place of art that fascinates you so special?
Surely New York! It’s very fascinating, surprising, where anything can happen both positively and negatively. When I was there in 2008, during a show, I tried both a series of conflicting emotions because of the strong contrasts in the city perceived as fear and joy, insecurity, security, loss and awareness . New York is a drug in its pure state is very challenging on all fronts, certainly from a lot of energy.
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The Art Show, which is organized by the Art Dealers Association of America, features contemporary, modern, and master artworks in a variety of media. The 70 American galleries represented in this year’s fair focus on solo and thematic presentations of international artists in a dynamically designed setting.
