Francesco Polazzi: Interview in Bologna, in the artist's studio.

On 22 November, Il Mio Salotto made a stopover in Bologna, in the studio of artist Francesco Polazzi.

Francesco hosted us, in this case, in 'his living room' (Il Mio Salotto = My Living Room) and allowed us to ask him a few questions to find out who is behind these paintings full of vibrant colours and vitality that mix the realistic and iconic with the abstract, in mixed styles and techniques with a hint of street-art influence.

When did you start making art? Listening to interviews with many artists and singers, the word 'need' always comes up, that they make art out of need, is this also true for you?

I have two answers to this question: from a certain point of view, I started "making art" as a child, when I was 4 years old I used to reproduce what I saw on TV or in the parks with clay - from this point of view, you could say that there was a sort of unconscious and already flowing form of creativity inside me. Second answer: I started painting when I left Italy at the age of 22, after finishing a three-year degree in Philosophy - in this case, I would say that changing the setting of my life, leaving the comfort zone of Bologna, allowed me to get to know a side of myself that I had almost forgotten.

I think that art is a need and a liberation (or an illusion of liberation) - making art is a request made by both the body and the mind - I am convinced that there is no real difference, in fact, between body and mind, or at least that they are not two separate things. Art is everyone's need, but not everyone understands that they have it.

Have you travelled a lot, did you do it for pleasure or out of necessity related to your growth as an artist and promotion of your art? (meaning did you think about leaving Italy because you did not have the same opportunities here) or both?

I travelled for the sake of getting to know new places, new people, making new experiences, first of all. Secondly, I must say that I have often travelled for the art, having done exhibitions all over Europe. So yes, I would say both.

What prompted the decision to return to Italy?

Italy is the most beautiful country in the world. It seems like a cliché but it is not. Although for a long time I wanted to believe that I had no roots, I realised, when I returned to Bologna, that I belonged there in a certain sense; to its streets, its people, its smells, its light (especially the light in September, in late summer, which makes Bologna seem as beautiful as a little Paris, with its many shades of yellow, from bright to pale). I also think that, even if we try to convince ourselves that this is not the case, Italy has a lot of unexpressed potential - this is perhaps why many young people run away abroad; I think the real challenge is to stay in Italy and succeed in doing great things right here, where it seems most difficult.

Have you been inspired by any artists in particular to find your own style?

I have had many models, from whom sooner or later I always decided to detach myself; I think my way of painting is influenced by that of all these artists. Initially Basquiat, Picasso, Mirò, Warhol, Richter - then Matisse, Cézanne, Morandi, Gino Rossi. However, I always try to keep my distance from my favourite painters, so as not to become a useless copy.

How do you choose the subject of your work?

Initially, in the early years, I would go straight to the canvas, without deciding on a subject that would later emerge as the colours came into being - improvisation and life caught in its infancy were the characteristics of that period of mine, when I was taking steps towards painting.

For some time now I have been focusing on landscapes, both country and city; en plein air painting is a way of painting that when you try it is very difficult to leave. Often, however, the choice of subjects is dictated by the clientele, who ask me for a portrait, a landscape, a portrait of a pet, always something dear to the person commissioning the work - when I notice their attachment to the things I have to paint, I realise my responsibility, and I always try to do my best to create an emotionally communicative painting.

Do you have any other work besides your career as an artist?

Until 4 years ago, I worked in the kitchen; it is thanks to this job that I was able to travel a lot and buy painting materials. For the past four years I have been working as an artist in my studio in Via Turati, Bologna.

How do you live when you are asked about the meaning behind one of your works? Do you prefer to let those who approach your works answer this question or do you prefer to give an interpretation yourself?

Of course I always give a meaning to my works, and I don't mind communicating it most of the time - but I have often noticed that the viewer finds other meanings in my work, which I (usually) consider equally valid.

What is your relationship with art critics?

I have often had fruitful conversations with critics, gallery owners, curators, professors and academics. Discussing art with experts in the field can help broaden one's horizons, but in the end it is always I who decides what I instinctively like to paint.

Who are the buyers of your works? Are they different or do you have a specific target group of buyers or people interested in your art?

I have buyers all over the world; often young, but also of other ages. I must say that this pleases me, to see that my work can be appreciated by people with a youthful mindset as much as a more experienced one.

How did you manage to go from making art, maybe just for passion at first, to making a job out of it and having exhibitions?

It was quite a natural transition; from the very first paintings I was offered to show them in a gallery (from the very first days in Birmingham, U.K.) - initially it was "just" a passion but I soon started to have exhibitions.

Do you remember a particular moment when you realised you had succeeded in making art your job?

Certainly, simply opening a VAT number made me think that painting had actually become a job. But when you paint, the categories of work,

passion, free time, in a way merge and become a single life experience, although of course, as in any life, there are ups and downs, exciting and boring moments.

This last year for many has been a cathartic year of personal introspection, how have you experienced it? What has it left you?

I am an introspective person by nature, so I haven't really had too much trouble getting used to a situation of working in isolation (fortunately I live surrounded by greenery). Also, in the last two years I made the decision to enrol in a Master's degree in Philosophical Sciences, which I completed in July - painting and philosophy have kept me company during this dramatic period, and I really couldn't complain about that.

Il Mio Salotto team doesn't stop here! New interviews coming soon. This was the first of a long series! Keep following us!!!

---