Gianni Politi beholden history and culture creates
abstract works of art that light with his viewer in a raw, radical manner. His works have been exposed at the Galleria Nazionale d’Arte Moderna in Rome, a shrine of art history of art in an exhibition curated by Paola Ugolini. Departing from classical themes the artist’s works have been juxtaposed to works from 1800 to 1885 creating a dialogue on history, myth and truth. Daedalus has started a dialogue with the Roman artist exploring his work, medium and the relationship to Italian Cultural Heritage.
Daedalus: Does abstraction function for you as a vehicle for exploing the widely varying capacity of emotional expression?
Gianni Politi: I chose abstraction out of the practice I’m involved in; it is for me the best way to narrate emotional and physical happenings around me.
D: Your show at the Galleria Nazionale D’Arte Moderna extended your consideration of painting in its historical theme. How do you feel about it?
GP: I feel as an artist born and raised in Roma a certain responsibility towards history and the history of art.The show at the Galleria Nazionale was the first occasion for me to confront my work and myself with that responsibility. I think that my work in general is in constant dialogue with the past history.
I don’t believe Italian artist could have the same “freeness” of other artist due to the constant immersion, from childhood to adulthood, into the huge fluid of past histories.
D: How would you describe the art world to a new comer?
GP: My answer would definitely start with a giggle.
D: Some of your paintings appear to remain unfinished, do you believe this puts your viewer in your same state of mind?
GP: I guess yes, I don’t really feel done enough as an artist to finish something. I am still practicing and I’m still pursuing something in my work that I’ve not yet achieved and I guess I’ll never will.
D: Do you see yourself as being reinterpreting the movement of arte povera through modern terms?
GP: Once I asked an artist I really respected at the time what was he thinking about my work, he was standing in front of a big piece during my show at Nomas Foundation in 2015 and he answered “I like it, it’s a mix between Burri and a friend of mine”.
D: How do you open up new trajectories of thought through your art?
GP: Via error
D: How does your art shed its traditional vocation in order to become modern? What role does tradition have in your art?
GP: This is going deep…
I feel that modernity is something unachievable, I mean, you cannot try to make something modern or contemporary, It is or it isn’t. The moment an artist start thinking on what the goal of his work is or what people will think, the art will stench. As a painter I have chose to use and stick to traditional techniques and materials, it is my responsibility to do so as an Italian artist.
D: Do you see the fact of being versalitle in terms of medium a strength? If so how?
GP: I am quite versatile considering the outcome or shape of the works.
The idea is always One, the idea it’s an originator of things.
If that idea, that motivation is strong then the works may come out strong.
D: You identify yourself as a “nightrider” that tries to reconstruct that space between reality and dream through reflection and introspection into your private realm. What kind of memories are you trying to reconstruct?
GP: “nightrider” was a title from a show in 2013, when I was asked to explain it, I answered that was due to the fact that I would be working in the day like an obsessed and during night time I would be going back to the studio to check what has happened during the day.
After that it has become a joke between me and my friends and then it became my Instagram account (@nightriding).
D: Some of your paintings appear to remain unfinished, is this a way to put the viewer in your same state of mind?