INTERVIEW  Maurizio Berardelli Curuz

Can you specify your staylistic and expressive manner to do art?
My artistic research is a disenchanted and playful vision of the world that alludes, deceives, gives back, hides, prevents itself. Other persons have defined my artistic course. I retain my poetic out of staylistic and expressive trend. Forgive my presumption: I don’t like “labels”.

Can you relate visual imprinting, images artistically obsessives that have preceded the choice to become artist?
To become artist? When I was a child, during alternative periods, I was obliged to stay at home in convalescence, during the days I drew and “scribbled”. It was very nice. When I was fourteen I told my parents that I wanted to go to an artistic school.

The real and one’s own formation. How did you work? What about expressive infatuations? How did you conclude the formative period?
My formative period was traditional. I went to the artistic school and thanks to the sculptor Mauro Staccioli I could attend the lectures of famous artists (Alik Cavaliere, Bruno Bozzetto, Claudio Sugliani, etc.) I did refine the art of drawing, the artistic techniques. Later I went to the  Academy of Arts “Carrara” in Bergamo. The polyhedral direction of the photographer Mario Cresci, the lessons of Angela Vettese helped me to open the horizons of art.

In the context of art, philosophy, politics, cinema, literature who and what works have engraved on your production? Why?
I always create a thin thread of deferment and citations what conjugate art with literature, music, cinema, design. I don’t turn myself only to a specific author, every work is not an end in itself, the tie with the previous work reflects my research to examine carefully the human sool, giving a different “imprinting”. I interact with “eye that looks”. The observer should give the answers to the riddle that is hidden in the work.

The beginnings of how and where they occured? Can you describe the works of those days to understand how those work – also for opposition – have engraved on the current production?
I started to exhibit and participate in various projects since the nineties with the attendance of the upper reaches of sculpture and jewelry in Pietrarubbia (Puglia), founded by Arnaldo Pomodoro and directed by sculptor Eliseo Mattiacci; having a pictorial training, even if I practiced a little painting, I always have experimented with recording techniques and the use of various materials. This experience has allowed me to compare myself with other artists, and further refine my technical and theoretical knowledge. I always need the comparison with other systems of perceving art and the world around me to figure out what to work on. The transition on from one style to another is natural, without rational perception.

The most important elements of turning the onset date. Can we divide and analyze technically, stylistically and expressively every time?
The first period for an artist is essential. But my path has never been linear.

I always have used a variety of techniques for the realization of my work by changing metod and approach. I find contradictions in what I do. If I look at previous works I find them different and antithetical to those that I realize currently. The common thread that binds them is the stratification of matter: first surface then depht. I like to play on the opposition, memory, history.

They are aspects of same coin: on one hand refer to the childhood game, liberating out burst of creativity, innocent approach and open to the world, and second in the sense of dialectics, the conflict between parts of the world, of being, of the social.

Persons, artists, collectors, gallerists, critics who recognize a fondamental role in your artistic life and why.
I admire the artists Gianfranco Milanesi (for irony and playful aspect), Pietro Finelli (for introspective capacity and for culture), Tania Sofia Lorandi (for empathy), Elisabetta Oneto (for versatility), Filippo Borella (for dynamic path), Nadia Galbiati (for poetic rigor), Silvia Casilli (for refinement of pictorial work), Daniele Salvalai (for willfulness), Gianluca Chiodi (for versatility), Angela Corti (for marriage of music and sculpture). I admire the Art Gallery of Milano that promotes my works; I admire the gallerist Neil Davenport who I met recently.

Materials and techniques. Can you describe how to create a piece analyzing every stage from concept to completion?
It depends by the contest. Actually I work in the site – specific. I like to observe the place and its history, the inhabitants, to retrieve objects, to deepen cultural and ethnographic context, to play with these aspects, to weave materials with memory, to remember the scent of time spent, then to think to a real project. I realize installations with photographs, objects and materials from recycling processes.

Have you got reference galleries? Where is possible to buy your work?
I always have exhibited in contemporary art spaces non – profit and in public spaces. I believe that art should be shared by all. My work is polyhedral, perhaps not recognizable by the art system.

Rates and prices of your works?
The value changes if the work is a site-specific, or if the work is a print of fine-art, or if the work is a sculpture.

If you were a collector, which artists would you like to have?
I would buy works by asian artists. Time ago I purchased a screen painting of Keizo Moroshita. If I was a collector I would like to buy an installation of Ai Wei-Wei.