ARTIST AND ARCHITECT
Tell us about a workflow quirk you’ve picked up over your artistic career?
Not really a quirk, but in the past few years I have become obsessed with sketching in museums and churches. I find gothic religious art, portraits from the 16th century and abstract figurative art from the 20s, 30s and 40s very attractive and appealing to sketch in situ, in a fast and very interpretative way, as a means to find new, hidden geometries. I also spend quite a bit of time deciding and analyzing the appropriate title for a specific artwork, to find the one that best describes it in terms of concepts, themes and technique. The titles usually end up having a scientific connotation, an association that establishes a connection to science, as my artwork is deeply inspired by it and I collect massive amounts of paper clippings from magazines and catalogs and, perhaps this is quirky, offset print targets and print control strips from cardboard boxes. They are all directly or indirectly a fundamental part of the workflow, but colors are the real quirky obsession!
What was it that convinced you to join ARTDEX?
ARTDEX was relatively new. when I found it, I was attracted by its simple interface and ease of use to archive, manage and share my artwork, and possibly connect with art collectors. I also liked the fact that it wasn’t oversaturated by artists, like other similar platforms or sites. I noticed the people behind it were very competent, passionate about supporting emerging artists, and full of initiatives – such as the 2018 Inaugural Art Competition – and that there was a regular presence on social sites.
To learn more, please visit Riccardo Liotta’s ARTDEX Profile.
