Paolo Canevari is an Italian-born and classically trained artist living in New York City. He comes from a family long ingrained in the arts; His Father and grandfather were sculptors, and his Brother was also an artist. Paolo felt from the beginning that he was born as an artist, and even felt obligated to become an artist with his families’ history in the arts. While this feeling of obligation seems somewhat off to me, I appreciate that he felt all along that he was destined to be an artist.
Paolo’s work spans an interesting spectrum of mediums, and seems to ignore some boundaries often associated with said mediums. He makes very interesting choices regarding materials, for example, choosing to draw on 100lb. marble slabs as opposed to paper, and I think there is something very interesting and novel about the concept. He is crossing barriers commonly associated with various artistic disciplines, juxtaposing materials and techniques while providing unique images that stay open to the interpretation of the viewer. He allows viewers to make their own connection to the work, providing symbols with multiple symbolic, spiritual, and societal meanings to be taken as the viewer pleases. This is refreshing to me, as much of the art I see attempts to convince the viewer of an idea or concept as opposed to allowing the viewer to draw their own interpretation.
His work seems very conceptual, with more importance being levied on the ideas encompassed within his work, and less emphasis on the creation or medium. I don’t mean to say that he downplays material choice in any sense; he just seems less concerned with the traditional academic view of a sculptor, or painter, or video artist. To limit oneself by material or technique is to sacrifice the concept in the process of creation. In the 90s Paolo decided to use tires as the primary materials in his works. This was not the easiest or even the most effective way to go about his work, but it was a material that made a lot of sense concerning his concepts and the importance of tires to our modern life. This is the kind of thinking that creates truly interesting and engaging art, choosing not the material that will be the best way to translate your ideas, but the material that works best in conjuncture with your ideas and enhances the message you wish to convey, ambiguous as it might be.
As an artist Paolo seems to be very attached to his homeland of Italy, and Italian culture and history seems to find its way into his work. Growing up in an environment so overwhelmed by history, it would be difficult to ignore its influence when dealing with art. He seems to be impressed and appreciative of the Italian masters, and believes their work transcends time. In this way I feel some kind of a connection with him, as I find myself enamored with work from the likes of Caravaggio and Malaparte, as they are classical in one sense but in a way almost modern as their work questions the very time and culture in which it exists.
Paolo reads as a very conscious and thoughtful artist, taking nothing at face value and always striving to improve his vision and art. He has an interesting body of work that was a joy to explore, and this article really brought to light some questions and ideas regarding material and the creation of work that I would otherwise not have had. Overall it was an interesting read, and Paolo Canevari is an interesting artist.
ART IS A POLITICAL OPPORTUNITY: Paolo Canevari with Francesca Pietropaolo
