DOMENICO RUCCIA INTERVIEW
RANZI EDITORE & ÆMERGENT
1. What's your type of art? The main genre and typology? And how did you get into it? How did you learn it and refined it?
My passion for drawing began when I was a child. I basically drew the things that fascinated me the most: my favorite cartoons, the video games I loved. However, I soon started modifying the worlds from which I drew inspiration, inventing new characters or creating additional levels in video games. That's when I realized that I enjoyed building something of my own, creating stories, or simply inventing something. As I grew up, new interests naturally led me to painting, music, fashion, and cinema, which became the main source of my inspiration and what I often depict today.
2. When did you realize you were and artist? What's your education and background? Did you have interesting and related experiences or did you start from scratch and you are a self-taught artist? Describe it.
My educational journey has been quite complex. Before professionally approaching art, I studied other subjects. After obtaining a degree in law, I completed my legal training to become a lawyer. It was during those years that I resumed painting in a significant way, and shortly after, I enrolled in an academy. That was probably the moment when I truly decided to become an artist. Technically, I am self-taught, but especially in the later part of my journey, I met a dear friend who initially was my mentor and to whom I owe a lot.
3. Someone said: doctors cure people and engineers build houses, artists don't. Do you think art is useful? Had it been? Will it be? And where do you consider yourself positioned in this? is there any role of art nowadays?
I believe that the urge to communicate is a primordial and necessary need, just like basic physiological functions. In an advanced society, the marginalization of art and culture in general is unimaginable because, when it is not merely speculation, it serves to improve people's well-being, just like healthcare or education. In my own small way, I believe that my work can offer a different and original perspective on what interests me. Being able to share this with others, providing new insights, is already valuable to me in terms of personal and shared growth.
4. What’s your environment? It can be family, relationship, school, work, etc. Describe your personal space, studio, room, creative space where you actually think and create.
Undoubtedly, the studio is a very important place for me, where I can focus on ideas and projects and bring them to fruition. Inspiration and reflections largely come from the outside world, from discussions, walks, books, or movies watched the night before, but they overlap over time. It is never a single event or a specific image that drives me to plan a new work; it is the combination of many elements. However, the studio represents the place where all these elements are filtered and selected.
5. Do you think young artists needs a support like the platform Aemergent? And how this must be done in order to make you develop your own experience as professional?
Certainly, for artists, these platforms represent a great opportunity to promote their work. When used correctly, they can be extremely helpful, providing a way to showcase and engage with people interested in your work.
6. What are you actually working on? Future projects?
It is definitely a beautiful and inspiring period. On June 16, the collective exhibition "Non rimane che volare" was inaugurated at Osservatorio Futura in Turin. On June 23, my solo exhibition "Storie di altre storie" will take place at the spaces of Iperstudio in Viareggio. In terms of my artistic exploration, I have decided to resume and expand a series of paintings that I had put on hold for various reasons years ago. Additionally, I am dedicating a lot of time to video, a language I started experimenting with in the past year and that is increasingly fascinating me.
7. To end this interview, choose your favorite work and talk about it. Can be the best on to describe you, your sensibility and methodology. The flagship one.
It is difficult for me to choose a single artwork. Generally, I am very attached to those that represent a change, such as the beginning or end of a series or a project in general. I would probably choose the series "Spiritus mundi" as it represents the closure of a circle, a summary of what has interested me in painting up until that point. The idea of creating entirely painted fake collages had been in my mind for a long time. It was combined with the need to bring together important images, those that have always been present in my atlas, as well as references to works I had previously created and the integration of new elements that I had been reflecting on recently. I believe that "Spiritus mundi" is one of the works that best represents me, starting from the decidedly conceptual methodology through which each image or figure is placed in a precise position, where practically nothing is left to chance. At the same time, from a purely chromatic perspective, the fusion of all the images has clearly defined my palette and the way I manage textures by layering them. However, all of this does not eliminate the random and mysterious component that accompanies the creation of any artwork. Perhaps for me, this is the most fascinating aspect: embracing an uncertain outcome that inevitably differs from the original idea while still reflecting it, despite the significant planning and overall design in painting.