Six questions for
Tomaso De Luca

Tique asks six questions to an artist about their work and inspiration.
This week: Tomaso De Luca.

Artist Tomaso De Luca
Lives in Berlin

How do you describe your own art practice?

Multidisciplinary, perverse, active, non-unitary, repetitive, de-centralized.

Which question or theme is central in your work?

Space. I’m trying to understand its irreconcilability.

What was your first experience with art?

As a kid I had an obsession for the Viennese Secession and all kind of comics. I used to copy all the images that I liked over and over again, until I was able to draw them by heart. I was trying to memorize and understand them, or perhaps obliterate them, I’m not quite sure yet.

What is your greatest source of inspiration?

Anything that doesn’t fit or looks uncomfortable.

What do you need in order to create your work?

A dedication in mind. I came to the understanding that the “best” works – the ones I’m most attached to – have some sort of final receiver. It is rarely explicit in the work itself, but it is very important to me, while the work is developing and changing, to have a place to come back, so I can let things happen. This is much easier when the work has at its core a dedication to someone or something.

What work or artist has most recently surprised you?

I bought a book called Avant-Garde as Method, by Anna Bokov, about Vkhutemas, the Russian state art and technical school founded in 1920. As simple as they might sound, I’m impressed by how its pedagogic ideas are still extremely relevant. For example the students were asked to start from simple forms and to combine them in ever new arrangements: by doing so, the assignments were becoming progressively demanding and, in response, the works were exponentially articulated. It seems that, by applying the exhausting and repetitive task of re-arranging those elementary forms, one would eventually be able to make wonders, regardless of their personal talent. To think that talent doesn’t exist is extremely liberating.

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