Which social, political, artistic or personal influences has your work had till the present day?

Since I started this work that I have referred to as Folk, I seldom doubted that it constitutes a valid answer, within my limitations, to the personal or global events that happen in me or in front of me. It is surely not the best of answers but a valid one all the same. The influences on a Folk work are always very broad so I will try to mention those that are current and more decisive among the four categories you mention. I consider it necessary, as a general mode, to hide the work from the social networks to grant them freedom. At the same time I feel a seduction coming from these networks. In case of showing the work, be it to please or to offend, or to try to understand it, the most meaningful question is probably: To whom? A crucial question and one difficult to answer lightly; so I try to find a person who can take care of this side of the business, someone who can function as a middleman and thus allow me to carry on living with normality: Out of sight, out of mind.

The most decisive political circumstance affecting the work about which I redact this interview is the possibility of remaining in Leipzig as an european citizen with similar rights to those of a german, in a city I find stimulating for the activities we are addressing. My relationship, intimate or superficial, with those who appear or those I wish would appear in my images, determines everyday decisions and delivers me joys, frustrations and all the other works of fate.

I realize while writing this that your question could be interpreted in the opposite direction: Which influence originates from my work and moves toward the social, political, personal or artistic spheres. The answer in this case can only be speculative and I am probably wrong: I think the social and political context remains unmoved, indifferent to my work. The personal scope is on the other hand obviously existent; my feeling is that it is for the most part tiny and probably very heterogeneous as I compose images that please and images that offend; images with absolute foreigns (even fictitious figures) and images with absolute confidants. In the artistic field I think the influence of my work can be dismissed as anachronistic, reactionary and inconsistent.

Which is your current production? What does your work represent?

I organize events related to images, create everyday scenes and draw nudes. My work represents my own marriage, placid and conservative, with my pictures.

Do you have a formal and/or conceptual discourse?

I don’t have one as I don’t use to talk about my work, but I would be glad to do it for this interview. Tell me what do you prefer, a formal discourse or a conceptual one? Or fifty-fifty?

Which elements/references are an inspiration in your work?

I don’t know. I don’t think I require any inspiration at all as such notion is understood in these kind of interviews; curiosity is enough. I have designed a process through which I obtain a reward, that is, the archived image; so I repeat that as a habit. Sometimes I work on scenes that seem to resist, they become impossible, as if they had been born with an incurable disease; I archive them likewise and abandon them. If the activity threatens to become boring I can always increase or intensify known stimuli or change them for new ones. As I don’t planify the images I create I don’t require any inspiration, I don’t require an idea; a place where something is happening is enough and that is everywhere. For this reason I occasionally feel that my work fundamentally differs from that of other painters who spend a lot of time and effort, sometimes suffering, thinking about the image they want to execute. I prefer to abandon all aims and expectations and engage directly with that which is in front of me.

I find it pertinent however, in a general discourse about the motivations of the artist, to mention a recent and recurrent thought I am having, where I weigh up the ability of my images to prevail in a fictitious competition against images that are created with computational assistance or, without going any further, with current video games graphics, as it happens. It is a reflection about quality and non-quality, history, traces, mistakes, marks, stimuli, attractions, corrections and the human component, in the eve of the revolutions approaching. I want to prevail.