Interview
Carmelo Buffoli
Carmelo Buffoli (1962) always wanted to be a photographer or a graphic designer. Early on, he was introduced to the old masters, contemporary art, Arte Povera, Hieronymus Bosch, Caravaggio, Pollock. Buffoli has an upcoming project in June, The Diary of Japanese House, which is a profound study of an imaginary journey in Japan. Five cities are visited, from south to north: Fukuoka, Osaka, Nagoya, Tokyo, Sapporo. June will see its publication as a book while next year's beginning shall witness its exhibition debut.
What is your background and how did you start your journey in the art world?
“When I went to art school, the approach was too linear for me and too dogmatic. So I left, because I realized art cannot be learned. I acquired my skills over time. After living in Paris when I was in my twenties, I founded my own advertising company in Zürich, Switzerland in 1993. Twelve years ago, I decided to dedicate a much larger part of my time to art, an old wish.”
What inspires you?
“For me, not only the final artwork is important, but the whole process: the coming into being, the idea of the meaning and the development. That is what conceptual art means. The surrounding world and the very moment is my source and inspiration.
I have always sketched and drawn wherever possible, on trains, on planes, during meetings. For instance: I see the unrest of the masses on their way to work, witnessed by the surrounding buildings, and note this in my diary. Later, in my studio, objects on the table cast shadows on the wall. Helped by my previous diary entry, I see the link.”
What themes do you pursue? Is there an underlying message in your work?
“The central idea revolves around the rapid transformation of our society and its apparent stagnancy. Despite moving at an astonishing pace, we seem to be going nowhere.
It‘s true that time passes quickly, and it‘s easy to get caught up in the rush of things. But we must remember that life is about more than just moving fast. By always pushing for speed, we risk missing out on all the small joys around us - the sounds of nature, the beauty of our environment, and even simple pleasures like savoring a delicious meal.
In some my artworks, I deliberately manipulate viewpoints to deceive observers with a subtle reminder that appearances can be deceiving.”
“Art has always been my constant companion.”
How would you describe your work?
“At first glance my work is graphic and minimalist, at second glance the object is separated from its environment and reduced to the essential and elementary. Feeling and spontaneity are a part, but I restrain this in the later process. It is a complex process but my approach is simple: all my work is a simplified version of a given.
This requires a wealth of thinking material, which needs to be released to get to the very core hidden under many layers. The colours I choose are often subdued. There is a simple and practical reason. I am spontaneous and use the material I carry with me, often just charcoal, pencil and pastels. As my mind never stops it is good for me not to have too many options, otherwise I lose myself.”
Which artists influence you most?
“More than single artists, I was fascinated by the times of upheaval, the breaking of conventions. I was inspired by artists who saw the world completely differently in their time, such as Hieronymus Bosch or Albrecht Dürer, Caravaggio, who redefined light with his painting. Andrew Wyeth with Christina‘s World made a lasting impression on me as well as Edward Hopper. or John Baldessari in his impressive simplicity. Gordon Matta-Clark with his big round holes in the houses in Paris, John Cage. Architects like Richard Neutra or Frank Lloyd Wright also belong in this category! Artemisia Gentileschi, Berthe Morisot Georgia O‘Keeffe, Hilma af Klint, who was the first trailblazer of the impressionist movement, June Leaf, Louise Bourgeois, Nan Goldin to mention a few women. Women who had to do and accomplish more than their male counterparts. All Artist who have influenced me enormously in my work.”
What is your creative process like?
“I have always sketched and drawn wherever possible, on trains, on planes, during meetings.. Also, for thirty years I have been writing diaries: every single day, to record details on my private life but also on what I see around me. The diaries help me a lot, they are like a script, a story-board, practically my memory stick! The diaries consist of notes, drawings, video fragments, photography. By doing this, I discover connections. The diary can trigger an idea, or something can fall into place.”
What is an artist’s role in society and how do you see that evolving?
“It is my belief that, in every area of artistry (including but not limited to fine art, music composition, literary works, and film), it is the artist‘s duty to tell new stories; to unearth what is hidden; and to reveal what lies beneath. Art and culture are crucial components of society; They reflect social debates, they offer areas of friction for dealing with reality, they point beyond everyday events. Art and culture are expressions of human existence.
Throughout history, art has been a privilege reserved for the select few. However, in the 1960s, it broke free from its elitist chains and became accessible to all through subculture movements. Graffiti is one such example of how vandalism was transformed into an innovative form of artistic expression that gained widespread acceptance. As we move further into the digital age, art continues to evolve and become even more inclusive than ever before. The blending of various styles only adds fuel to this creative fire as artists continue pushing boundaries like never before. Moreover, contemporary artists are using their work as a tool for political and social change; individuals like Nan Goldin or Banksy have harnessed their creativity towards making meaningful statements about our world today.”
Have you had any noteworthy exhibitions you'd like to share?
“I am fortunate to have access to well-curated museums in Zürich, such as the Kunsthaus, the House of Concrete Art and the Museum of Design. I make it a point to attend an exhibition almost every month. However, there‘s something special about Fondation Beyeler in Basel that makes it one-of-a- kind for me. It is undoubtedly one of the most remarkable museums out there!
Recently, I had an opportunity to attend a Doris Salcedo exhibition at this museum which left quite an impression on me.
Doris Salcedo’s compelling works are the outcome of years of socio-political research, experimentation with techniques and materials, and questing for artistic form. Salcedo’s interest centres on cross- cultural emotions and sensations such as empathy and grief, as well as our handling of the ever-repeating cycle of forgetting and remembering in the context of violent conflicts. Even though her works often take specific events as their starting point, their reach is universal and their impact inescapable. Rather than simplistic depictions, Salcedo searches for viewers’ shared emotions and sensations.
Salcedo works with a wide range of materials: stone and cement, wooden furniture, needles, items of clothing, silk, grass, water, flower petals or hair. Her unusual transformation of these materials allows her to «represent violence without violence» and to make pain and suffering palpable without showing them explicitly.”
