G.V.In his Origin of the Work of Art Heidegger strongly connects the work with the artist. What do you think about it?
CS. In a way I think I’ve already answered that question. I feel so passionate about each of my projects, be they stories about people or less familiar worlds, such as Bedouin traditions, that I feel part of each one, I blend in with each one, narrated by each one, and this comes about naturally, the moment I start work. In fact, it seems that I can’t even think unless I feel a strong identifying emotion.
GV. Would you identify a common origin in all your works?
CS. Well, if, generally, I am the common denominator, each work deals with a very specific subject. Each Desire is an expression of a precise personal desire; each Portrait talks about what makes a person unique compared to all the others.Then, naturally, I follow the trajectories that generate a series of works. The progression of the research from work to work, within the same thread, is the most important nutrient for me.
GV. Do you conceive your whole being as a path?
CS. Yes, no doubt.
GV.Tell me a bit about Soft Art.
CS.I am fascinated by the idea that a work of art can be not only an object to collect and keep, but also an instrument of daily life, useful, perishable. In fact, this is a constant in my work: the application of patterns on wall paper and textiles came to me spontaneously exactly so my work can enter houses and people’s daily lives. In a certain sense, in this way too I present myself in a more fundamental way not just entering in the framed and hung work, because the pattern generates settings, worlds, and in a way aspects of my world, but somewhere else.There, this is probably an absolute domestic expression of Soft Art, but the project also includes practical objects of art, which you can keep or eat from.
G.V. Talking about eating, I’ve just remembered Fornasetti’s plates.
C.S. Very often they refer to this alikeness, maybe because of the black and white, I don’t know. Application on porcelain is something I’ve been experimenting with and I hope the project comes together pretty soon. Maybe when I see you next time I’ll tell you about it.Instead, I’ve already been creating the applications on textile, soon they will be unveiled, although there have been sneak previews here and there.In the last few months I have put together a limited edition of black and white prints on canvas. The small difference between this and a canvas to hang is that if you don’t want to hang it, you can wear it, because I made it on a cook’s apron. Thus you can choose to be a collector, because obviously it’s a signed work.
G.V. So,in your opinion, if the work is not used it is no longer alive?
C.S. Well, it’s different. By life I always mean movement, and from my point of view as an artist, the work which remains closed within a frame suffers the physical limits of stillness: imagined worn it takes on a different form depending on whoever wears it. I am curious about this potential vitality of a work.You know, the idea to apply this collage to a cook’s apron came about from my friendship with Ambra Romani, a chef who loves my work and wears an overall made for her on really special occasions.
G.V. What are you particularly proud of?
C.S. Hm, I don’t know. I don’t know because I generally measure every result only at the end, when I’ve ripped, printed, cut, glued… and at the end what I have in front of me is it.
G.V. Do you feel the same satisfaction for all your works?
C.S. I am hard on myself and I won’t show anything that does not absolutely satisfy me 1000%.Then, obviously, with time a project which is convincing emerges and you feel it more, others less so. It also depends on how I change.Talking generally about a satisfaction a great one was the one in the Corriere della Sera. It was an enormous one and totally unexpected, thus even more special.
G.V. Can you explain what is it about?
C.S. Every year, in January, the Corriere della Sera, maybe the most important daily newspaper in Italy, publishes a type of vade mecum which is basically a guide for investors in every field, from gold to stock markets, and it includes a chapter on investments in the art market.This year the title was something like “How to invest in difficult and tough times,” and, well, rather surprisingly for me, the contemporary art market is going in the opposite direction from the general crisis. 150 contemporary Italian artists “to keep an eye out for” and in whom to invest in 2012 were listed. I was included on this list: it’s an incredible satisfaction.