Image Courtesy of Andres Ciccone.
Bold color, broken rules, and blurred faces cover the canvases of artist Andres Ciccone. Evoking personal experience and emotion through the use of geometrics, his process centres on exploration. SLEEK had the opportunity to delve into Ciccone’s routine, and learn more about how his abstract paintings are brought to life.
SLEEK: You were born in Venezuela, and are now based here in Berlin. How have the two places impacted your artistic practice?
Andres Ciccone: Yes, I was born in Venezuela but my parents are Italian. Currently, I live between Berlin and New York which are two very inspiring cities and have greatly influenced my creative process. On the one hand, there’s Berlin with its culture, music, excesses, architecture and the artistic way of life in which one experiences daily. I even started my career as an artist in Berlin, where I began experimenting early on with screen printing and manual prints, combining graphic processes. I was influenced by the masters of Kinetic art and Venezuelan and Latin American abstract geometry, and combining them with studies based on Bauhaus and German Gestalt masters, aiming to use them as references while trying to achieve a more contemporary style. Then New York came into my life. Here, I have had the opportunity to get much closer to the art market, studying new trends and styles, and I believe it has been one of the most important parts in the development of my work so far. The competition never ends in that city, and of course, the challenges and ups and downs I have faced since I decided to go there have been very helpful for my artistic development.
S: Your multidimensional work is rooted in the theories and practices of the Kinetic and Op-art movements – of which there are many Venezuelan greats. For those unfamiliar with such theories, how would you summarise it in relation to your output?
AC: In Venezuela, we have a great variety of artist masters focused on kinetic practice and abstract geometry. This means that the objects or pieces in relation to art have movement or perspective depending on the viewer’s position. My work is based and focused on creating these effects, but in a more modern and appealing way. I play with the angles of the canvas, distorting the typical formats (rectangles, squares), and transforming them into asymmetrical shapes. For example, I search for an angle in a corner where that space may not have been previously considered to be utilised. My work is based on taking advantage of and making the most out of spaces.
Image Courtesy of Andres Ciccone.
S: Your work explores the interplay between space, movement and colour. Through such an approach, one that brings kinetics and geometrical forms onto the canvas, the viewer’s perception is challenged and warped. How do you hope that people will interact with your work?
AC: When I express that a piece of art delves into the intricate relationship between space, movement, and colour, I aspire for viewers to actively immerse themselves in the artwork by dedicating time to observe it from various angles and distances. By defying conventional notions and offering fresh perspectives, these works strive to expand viewers’ comprehension and admiration of these elements in both art and the surrounding environment. Each individual brings their own personal experiences, emotions, and perspectives, which in turn shape their distinct interaction with the artwork.
S: What does a day in the studio look like?
AC: I enjoy arriving at the studio around 10:30, where I prepare myself a cup of green tea. The first thing I do is respond to my emails and see what’s happening in the art market. I spend about 45 minutes to an hour doing this, and then I put on the best music playlist that matches my mood for the week. I then prepare my brushes and canvases. On the wall, I have at least 4 or 5 pieces that I work on simultaneously. When I don’t know what else to do with one piece, I move on to another and so on, because if I focus on just one, I tend to get stuck. It’s important for me to set an alarm to remind myself to eat, as sometimes I can spend 10 to 15 hours in the studio and lose track of time, forgetting to eat. I don’t take breaks. I repeat this routine every day until I finish my pieces. My artworks are very linear and graphic, and precision often takes time. It requires a lot of patience.
Images Courtesy of Andres Ciccone.
S: From what I understand, a lot of your creativity takes shape through painting and printmaking. Are there any other forms you would consider experimenting with in the future?
AC: Yes, a significant part of my artistic process revolves around experimentation and incorporating various mediums, gels and textures. Currently, I am particularly drawn to working with portraits, capturing the essence of the people who surround me in my life. I am also exploring a new artistic direction by blending figurative elements with geometric abstraction. This allows me to push the boundaries of my creativity and create unique and thought-provoking pieces.
S: You once collaborated with Cabana Studio to create one of a kind furniture pieces. How did you find working with this very different canvas?
AC: The furniture project I worked on with Cabana Studio in Portugal opened many doors for me in understanding wood. It was a fascinating challenge as I had never experimented with another medium like wood before. It is a beautiful world, but it takes time to comprehend. It took us more than four months to create seven uniquely designed pieces, in which I intervened with the wooden furniture. These pieces would transform in shape and coloir depending on the light, shadow, and the angle from which they were viewed.
It was a complex yet incredibly enjoyable challenge. Thanks to this collaboration, my artwork has evolved, and now most of the frames and pieces I create are installations. Often, I stretch the canvas over a wooden box, paint it, and place it next to another canvas. This gives the impression that the piece is emerging from the wall, creating a captivating visual perception effect.