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Interview
1. What are the foundations of your research (Art Identity)?
The mystery of being in Being, Color, Light, Time, Relationality, Empathy between work and user, I follow the development of Neuroesthetics with interest.
2. Who are the artists who have guided you in your research?
It is an impracticable list because one name recalls others in an infinite cycle. Every artist's debt is with the history of humanity as a whole. Just a few in no particular order: Morandi, Munari, Balla, Paik, Burri, Fontana, Matisse, Previati, Signac, Newman, Mondrian, Delaunay, Prampolini, kinetic, programmed and optical art... I'll stop.
3. Define yourself as a human being using three adjectives.
I can try to define three contradictions present in my person: analytical because emotional, benevolent but sanguine, planning due to forgetfulness.
4. According to your vision, where is he going and where would you like him to go, contemporary art?
I quote part of the answer to a similar question asked in an interview: “Abroad, innovation in research receives enthusiasm, acclaim and aid. Italy is a wonderful country, a garden with special flowers, but we have too few gardeners who know how to cultivate new species or conserve those already recognized as rare. The base of Italian collecting is too narrow and oriented towards investing in historicized authors rather than enhancing artists in their full career, not to mention the incurable xenophilia that squanders precious resources without enhancing our research at least in the European field. They are examinations by specialists but the general climate that has been lived for several years in the first person leads to these conclusions. In Italy the artistic profession is really very difficult. I very much hope that in the years to come the headwinds will change direction by blowing in favor of the promotion and support of national contemporary art.”
4. According to your vision, where is he going and where would you like him to go, contemporary art?
I quote part of the answer to a similar question asked in an interview: “Abroad, innovation in research receives enthusiasm, acclaim and aid. Italy is a wonderful country, a garden with special flowers, but we have too few gardeners who know how to cultivate new species or conserve those already recognized as rare. The base of Italian collecting is too narrow and oriented towards investing in historicized authors rather than enhancing artists in their full career, not to mention the incurable xenophilia that squanders precious resources without enhancing our research at least in the European field. They are examinations by specialists but the general climate that has been lived for several years in the first person leads to these conclusions. In Italy the artistic profession is really very difficult. I very much hope that in the years to come the headwinds will change direction by blowing in favor of the promotion and support of national contemporary art.”
4. According to your vision, where is he going and where would you like him to go, contemporary art?
I quote part of the answer to a similar question asked in an interview: “Abroad, innovation in research receives enthusiasm, acclaim and aid. Italy is a wonderful country, a garden with special flowers, but we have too few gardeners who know how to cultivate new species or conserve those already recognized as rare. The base of Italian collecting is too narrow and oriented towards investing in historicized authors rather than enhancing artists in their full career, not to mention the incurable xenophilia that squanders precious resources without enhancing our research at least in the European field. They are examinations by specialists but the general climate that has been lived for several years in the first person leads to these conclusions. In Italy the artistic profession is really very difficult. I very much hope that in the years to come the headwinds will change direction by blowing in favor of the promotion and support of national contemporary art.”
TWO WORDS ABOUT HIS WORKS
The artistic debut of Davide Maria Coltro, after a period dedicated to abstract painting on transparent plastic materials, is characterized by the performance "Censimenti dei Viventi", which obtains a museum exhibition at the Young Museum in Revere. Invited by critics to numerous solo and group exhibitions both in Italy and abroad, including: Museum of Modern Art in Moscow, Palazzo della Ca' d'oro in Venice, MART in Rovereto, Farnesina Collection in Rome, Urban Planning Center in Shanghai, the Achille Forti Modern Art Gallery in Verona, the Civic Gallery in Trento, the Paul VI Collection in Concesio, the GASC Villa Clerici in Milan. It should also be remembered that he took part in important events such as the 54th Venice Biennale of Art and the XIV Quadriennale Anteprima in Turin. His works are present in public and private collections. Immediately defined as the inventor of the media framework, in his search for him the artist pushes the space-time limits of communication, adopting the methods of transmission typical of the most current technologies. His artistic research is aimed at the use of mass technologies with unprecedented architectures that modify the criteria for the creation, diffusion and fruition of art. The result of this study is "System'', an open system, in connection with the artist's studio, where new works are produced every day, in constant evolution, capable of expanding the contemplative experience in a predefined period of time. The images, in relation to each other, form an iridescent media flow, with a slow rhythm, assuming a diluted observation over a sufficiently large period.As the artist himself explains to Art Identity: ''My artistic research uses technology with that modify the criteria of creation, diffusion and fruition of art.The result of this study, which began at the end of the nineties, is an unprecedented digital relational ecosystem that I use as a platform for the development and diffusion of my electronic painting, visible thanks to Media Paintings The Media Painting responds to a current historical-cultural vision, releases the evocative power of the traditional painting by continuing its evolution. The relationship with the history of art and the genres of painting are cornerstones of my research and I define my works as ''painting beyond matter''. Experimentation in digital art has led me to formulate the concept of Modal Tuning on which I am developing a theoretical text''
In recent years he has begun a course of theological studies, with the desire to feed his artistic research through greater reflection on man's relationship with spirituality and with the fundamental theme of human existence.
