Interview

Nov 6

Carmelo Buffoli

For Carmelo Buffoli (1962), Swiss-Italian conceptual artist, grasping the essence of existence is his core subject. It is a constant search, using various techniques -images, illustrations, installations, video- to express his discoveries. Meticulous diary keeping is an important part of this process. Buffoli’s acclaimed work is sold in his native Switzerland, in the USA, Canada, Italy and Germany. In early life, Buffoli was introduced to the old masters, contemporary art, Arte Povera, Hieronymus Bosch, Caravaggio, Pollock. He always wanted to be a photographer or a graphic designer. When he went to art school, the approach was too linear and dogmatic for him. He left, realising art cannot be learned, and acquired his skills over time. After living in Paris when he was in his twenties, Buffoli founded his own advertising company in Zürich, Switzerland (1993). Twelve years ago he decided to dedicate a much larger part of his time to art, an old wish. By releasing a selection of his spatial concepts and designs, Buffoli has reached a new milestone in the conceptual art project titled ‘The Japanese House’. Buffoli’s new book, published in June, has already been hailed by art galleries in Switzerland, Germany and Spain.

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. 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 inspires you?

“As an artistic visionary, I believe that every project I embark on is a journey of continuous growth and exploration. Each creation, whether it was initiated two decades or three ago, serves as a rich tapestry that I constantly intertwine and reimagine. The passage of time only deepens the layers of meaning and significance within my body of work, allowing it to evolve and resonate with viewers in new and profound ways. I'm working on sealing up my diaries and night books full of artistic texts and sketches and giving them away: I'll visit different cities and leave my shrink-wrapped diaries and night books at a bus station, in the metro, in a cafe. Each book is a window into my artistic journey, capturing moments of inspiration and creativity that I hope will find their way into the hands of others who appreciate the beauty of art. Whoever discovers one of my artistic books has the freedom to embrace it as a treasured possession or effortlessly discard it. The responsibility of these creations no longer rests on me, as I have already abandoned my personal diaries in both Berlin and Paris. This project stands as a testament to my ambition, and I envision a future where, perhaps in 10, 20, or even 50 years, someone will stumble upon one of my books and be captivated by its contents.”

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 my artistic practice, I find solace in the use of unconventional materials such as handmade paper and ink. Not only do they allow me to create unique textures and effects, but they also serve as a medium for translating complex ideas into tangible forms. Through the subtle manipulation of viewpoints in my artworks, I aim to challenge the notion of appearances and encourage viewers to question their initial perceptions.”

“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. It is not merely a matter of my choosing to work with various artistic mediums; rather, it feels as though the mediums themselves have chosen me. Throughout my artistic journey, I have explored a wide range of materials such as oil, oil pastel, and watercolor, as well as different implementation options like photography and video. However, I find that the simplicity of using ink and paper resonates deeply with my minimalist perspective, embracing the power of reduction and omission in art.”

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?

“In my studio, I have a large table, various artistic supplies such as paper materials and ink. I specifically use Japanese ink for its exceptional quality. Of course, brushes and pens are also included in my collection. In addition to working in my studio, I often travel to Sicily and Apulia to rent spacious studios where I can continue my artistic endeavors. Wherever I go, I always carry my sketchbooks, along with brushes and ink, allowing me to sketch and draw from anywhere. When I engage in artistic pursuits, I enter a state of complete focus and concentration. The outside world fades away as I tune out dis- tractions, even going as far as switching off my phone. It becomes almost like a meditative experience, allowing me to fully immerse myself in the creative process and let my ideas flow freely. 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, the artist discovers connections. The diary can trigger an idea, or something can fall into place.”