Mauro Bonacina, artist
"I try to chose iconography, everyday motifs, and cliches that we understand and share in our collective memory, so that the work can relate to the past, the present and the future."
NEW YORK. USA. 10.13.2010. 11:32, 2010
Acrylic 102 x 116 ", Angel painting
(via Charles Bank Gallery)
There are elements of excess, violence, death, and fragility in your work.. What was the time like in your life when you were creating this work? Do you think it is apparent in the final work?
I made the work for the show in three weeks whilst i was in New York. I like the idea that the artist should not be constricted by the studio. I definitely think that art can be made anywhere at anytime. I think i am more interested in stimulating the viewer to have their own notion of what the work might be, and might be relating to, rather than the work being purely descriptive or biographical. Furthermore I think every artist's work is inevitably biographical in one way or another, but that does not mean that the work's content is related directly to the artist actual life.
NEW YORK. USA. 10.21.2010. 12:36, 2010
Spray paint on acrylic paper 21 x 27 "
My consciousness exists here and now, as far as I am concerned. I try to chose iconography, everyday motifs and cliches that we understand and share in our collective memory, so that the work can relate to the past, the present and the future.
Is important humor in your practice?
Humor is very important to me as a human being.
LONDON.ENGLAND.29.11.2009.14:38, 2009
Ceramic pot, cabinet, paint brush, oil, enamel and aluminium
The piece that first attracted me to your work was LONDON.ENGLAND .29.11.2009.14:38, 2009. The work is appears almost as if you installed a piece inside someone's home.
You work has a conversation about space, interiors of a gallery, and the the place it inhabits. Do you ever imagine your work outside the gallery, and being lived with? Where did you find this cabinet and bathtub?
The reading of a work is without a doubt influenced by context. In fact my work also deals with this matter-it is very important that the work takes into consideration the world it inhabits. I guess a large proportion of works after leaving the gallery space end up existing in living spaces and storage spaces. I search through architectural savage yards for many of the objects I use in my works, but then again it really depends on the work. If there is a need for a conceptual idea to be realized by fabricating something, buying it new from a shelf or even stealing it, so be it. I try not to close the practice down within such formal parameters.
Do you fear or think about death?
I think death is inevitable, as such it is inevitable that we think about it.
What motivates you to work?
Addiction
MAURO BONACINA
Born 1977, Milan, Italy Lives and works in London
go to Mauro Bonacina's site here...
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