Interview with Paolo Signore
January 2020
- Would you like to tell us about the concepts you are experimenting in your paintings?
My guiding concept in producing art is the harmony of contrasts. It is only an apparent oxymoron. My works are full of contrasts between light and shadow, between colours, between different shapes and materials, but when put together, almost paradoxically, they produce a harmony, a balance, which transmits emotion, in a few words it produces beauty. After all, life is a path of light and shadow, ups and downs, full and empty spaces. The important thing is that the dance between these aspects produce a harmony, a well-being, a sense, a meaning for which it is worth living.
Another important concept, which can be found in several of my abstract works, is the 'stream of unconsciousness'. A paraphrase of Joyce's narrative technique that let his consciousness flow freely. Here in my abstract works I let my non-consciousness flow freely. I try to reset rationality to zero and let myself go freely to the pleasure of the juxtaposition of colours, the harmony of forms, the pleasantness of gesture and material that takes shape. Thinking as little as possible about what I want to communicate or what the audience's reactions will be, but only to bring out the deepest parts of me through colour and shapes.
- What are the ongoing projects and what innovations will they present?
First, I would like to tell about the life of the human being today. I am concluding a 'Triptych of the contemporary era', in which I collect some of today's phenomena that most affect me. The first table shows the cruelty, understood as a form of violence against human beings in conditions of inferiority. The second is about the worldwide phenomenon of migrations. The third would throws light on the anthropological changes of human beings in lifestyles, in the dynamics between genders and so on, including the hope that all this will lead to a new balance of the human species. I will continue along this line which I believe to be fruitful and full of inspiration and emotion.
Secondly, from a technical point of view, I would like to try to put together in the same work the best characteristics of my abstract production (for example the strength of colour), of my figurative production (the drama, but also the irony of carachters), together with an original and lively use of different materials. It is an inspiration that I captured when I made my painting 'Black Sea', a black and white work that seems almost coloured and where the sea comes out of the canvas to meet you. I would like to be able to make a small contribution to the relaunch of the painting in a season where it is rather peripheral to other artistic form.
Finally, I would like to arrange events where art, poetry, music, dance and so on, can be brought togheter to express the great potential of art in all its forms. Nowadays in science there is more and more talk about the importance of the interdisciplinarity, since a single discipline alone cannot explain the complexity of reality. I think the same applies to art: it would be nice to put the arts together to create new visions of the world, of life, of the future of the human species.
- What do you think about an artist's social commitment?
In itself, I do not consider it essential. Great artists of history did not have a clear social commitment. Then I think about the season we live in today. In this liquid, complex reality - where certainties are gone and everything, even values that were thought to be taken for granted, need to be renegotiated - I am reminded of the words of Joni Mitchell who said: "When the world becomes a huge mess, with no one at the helm, it is time for artists to make their mark". I think we're at a time like this. Probably the language of art, with its ability to affect the depths of human beings beyond rationality and prejudice, to arouse deep emotions - which are not a game for hysterics but as Pascal said are the structural substratum of thought - could play a great role in defining a new future for the planet. And I therefore believe that artists should bravely resume a visionary role and become involved in the contemporary destinies.
- What is your relationship with the market and how do you judge it?
Discontinuous. In Italy it sells poorly and badly. It is a phenomenon that - apart from the big artists – affects everyone a bit. In such a context there's little room for novelty, little willingness to take risks on unknown artists. Too often the numerous exhibition initiatives, prizes or other similar events are more aimed at financing galleries, curators or critics than at investing seriously in some promising artists. And in this way the market - I am talking about the Italian dimension that I know best – risks to be rarefied, closed, self-referential. It lacks the courage to invest in the new, to open a little bit the doors of closed rooms, when instead there would be a great need and there would also be a great widespread and still unknown talent to give space to.
- Your dream in the drawer?
Easy answer: to be able to excite, to shake, to make reflect, through my art, the largest number of people possible and to be able to live from this, investing the best of my time, my creativity and my energy.
- What are the contemporary artists you appreciate the most?
I was already an adult, when one day I was attracted by a light and entered the room from which it came. It was the Van Gogh room of the Metropolitan museum and I was so dazzled that I had a little Stendhal syndrome: I saw the irises of the famous painting moving in a warm morning breeze. It was an inspiring illumination: from that moment on, art exploded in me. Besides him and Cezanne (after all not so contemporary), I could mention Picasso, Boccioni, De Vlaminck, Nolde, Munch, Rothko, Pollock, Haring, Bacon, Freud, Ai Weiwei, Christo, Anselm Kiefer... But also niche names, such as the power of the sculptures of Gemito or, recently, Jago. You're spoilt for choice.
- What events are you planning?
Recently I have chosen to reduce my public presence to a few selected and innovative activities. Exposing so much to do so interests me little. Through social networks I have contact with a wide audience that gives me support and inspiration.
Thanks to the help of some qualified operators I will organize my own personal exhibition in Rome that I would like to become a set of specific mini-events, such as the storytelling some of my artworks, the presentation of an interesting book on contemporary art, the experimentation of artistic mixing with music, poetry, etc.. I would also like to experiment with forms of multi-handed live painting: musicians can perform live in groups; why not we artists can do it too?
Together with other artists we should give life to the Live Hospital project, making an important health facility in Rome become also a place of exhibition of works of art.
I also hope in the medium term to take more care of my presence abroad, which I have experienced just occasionally.
