The venture “Dipinti” is hosted in Capsule’s Venture Room 1. Teoldi’s homages to the language of portray, irrespective of whether or not in his latest oil on canvas items or his gouaches on paper, are expansive and resonant. On this event, the artist—who studied pictures, first in Milan after which in New York, and who, in recent times, has come to prominence for works with plane blankets—makes use of an unfamiliar medium to current each day home scenes, acquainted faces, intimate atmospheres, and sober conditions. Whereas not a extensively identified facet of his observe, oils have lengthy been a longstanding curiosity for the artist. The depictions in these new works are neither spectacular nor extraordinary however exist as a kind of private diary that’s extraordinarily true to life. The miniature dimension of the works stresses the thought of intimacy, the unassuming nature of his topics which span from flowers to sardines, from landscapes to nonetheless lifes, and tributes to influences together with Giorgio Morandi—one of many artists Teoldi not directly quotes repeatedly. Additionally among the many photographs is a unadorned male again, a physique in entrance of a window, males showering. The works are a small encyclopedia of the quotidian that Alessandro’s heat palette interprets into imagery.

On the event of the venture, curator Manuela Lietti performed an interview with Teoldi to make clear the artist’s new physique of works.

MANUELA LIETTI
What function does portray play in your life and work?

ALESSANDRO TEOLDI
Portray has performed a central function in my work for a very long time. After I take into consideration my progress as an artist, I believe that it was the work I noticed in museums and galleries that for me functioned because the entry level to artmaking in a broader sense. Many individuals discuss with my material works as work and I believe that is fairly significant. Throughout the years once I was extra centered on the creation of my textile collection, work and drawings had been all the time the place to begin of the work each in its formal facet and within the chromatic selection.

MANUELA
Why did you are feeling the necessity to specific your self by means of portray at this stage in your profession—particularly not having a proper background in portray? Maybe portray may very well be thought of an virtually compulsory step?

ALLESSANDRO
Sure, I believe that portray and drawing are taking part in a central function in pushing my work additional and so in a means sure, they’re essential workout routines for the time being. Within the final years spent in my studio, I discovered myself experimenting quite a bit and portray ended up making its means into my extra textile and collage-based work. I’ve an awesome curiosity for various supplies and dealing with completely different media on the similar time has grow to be a vital facet in my observe. It typically occurs that I’d work on a portray and on the similar time on a sculpture and on a textile-collage—I’m deeply satisfied that the outcomes of all of it turns into my work in a broader sense and couldn’t be thought of in its individuality. I really like this multiplicity.

MANUELA
Along with Giorgio Morandi—whose affect may be observed in these new work and likewise in a few of your concrete works—what are the pictorial references that you just took under consideration for these works? And extra usually, what are the influences which have formed your private {and professional} style?

ALESSANDRO
To be trustworthy with you, my style shifts very often, and I take a look at completely different artists relying on what I’m engaged on at a particular second. Within the final 12 months or so, I’ve been trying quite a bit at Italian painters from the Nineteen Thirties and Nineteen Twenties: Casorati, Sironi, the Roman college and so Mafai, Cavalli, Janni, Corrado Cagli, Capogrossi (the extra figurative years). For certain I deeply love Giorgio Morandi – his colours and the formal simplicity of his work have all the time been an awesome reference for me.

MANUELA
You possibly can discover a really intimate and acquainted feeling within the work, as if it had been a private journal, a narrative made up of “little issues” with their very own dignity, even when they’re typically ignored. Did you wish to specific this? How did you select these topics?

ALESSANDRO
I’m joyful that within the work you possibly can see an intimate and acquainted environment. Over time I’ve been attempting to work on these topics by selecting supplies which can be very tactile and related to non-public and home experiences. I’ve tried to do it additionally by representing intimate actions equivalent to hugs, fingers and effusions between our bodies. As for the topics of the work that relies upon—they’re typically fully invented, typically impressed by different work, and typically taken from an image I’ve in my digicam roll. They often are the mix of each my private expertise and what I really like to take a look at inside a museum or gallery.

MANUELA
Is there, or will there be, a connection along with your material creations sooner or later?

ALESSANDRO
As I used to be telling you earlier, portray has discovered its means in my extra textile and collage work. I contemplate these new collection of wall items because the pure evolution of the works I made for a while utilizing airways blankets. Utilizing drawings and portray on these new compositions actually gave me the chance to play quite a bit with a sure contamination of supplies that enables a layering that I used to be just about excluding within the older works—it’s very thrilling!

Curated by
Manuela Lietti 

at Capsule Venice
till September 8, 2024