È passata una manciata di mesi da quando, a Venezia, si potevano ammirare due gigantesche mani che uscivano dall’acqua per abbracciare l’hotel Ca’ Segredo. L’opera, chiamata “Support” dal suo creatore Lorenzo Quinn, è stata una delle installazioni di cui si è più parlato durante la Biennale 2017. La maestosità della scultura, che emergeva dalla Laguna per sorreggere il palazzo, era bilanciata dall’estrema dolcezza di un gesto antico quanto il mondo: sorreggere, aiutare, sostenere chi, da solo, può non farcela. E allora si sprecano gli spunti di riflessione, i discorsi filosofici e ogni altra congettura. Resta un gesto, forte e amorevole.

Smart Review ha fatto una chiacchierata con Lorenzo Quinn, per parlare delle origini di Support, dei suoi progetti futuri e della sua concezione d’arte.
(Di seguito, la versione originale in inglese).

We start from a work that, in those months, had great success: Support. How was Support born? What is the research behind this masterpiece?

There wasn’t any actual research behind this piece. The sculpture was born from a conversation that I had in Venice at the Ca’ Sagredo Hotel as there was a possibility to create a sculpture for them. Then, I thought that it would be very striking to have hands coming out of the water to support the building and to have this hands represent the climate change effects in Venice, and other parts of the world that are being affected.

What are your next projects? What are your next expositions?

I have a lot of projects in my hands right now, but I don’t really like to speak about them before they are released. With regards to exhibitions, we are currently making the program for 2018. We have a show in Harrods (London) this month and we are expecting to have another one in China in September.

Michelangelo, Bernini and Rodin are your master. How do they inspire you in your work? There is a connection between your art and Old Italian Art? On the other side, you studied in New York. What is your connection with American Art and American reality?

The masters inspire me to seek perfection. The fact that I grew up in Italy, allowed their work to be present in my everyday life, as I went through Rome I would see their art and wish…wish to be like them. Even though I know I’m not as good as them and never will, they inspired me to be as good as possible and get as close to the harmony and craftsmanship of their work as I could. That is my goal.
With regards to the American Art. America is where I first studied and learnt art and actually where I started creating and selling my work. I also lived there for 20 years. However, I must say that, as far as contemporary art goes, I don’t feel I’m influenced by any contemporary artists. I’m mostly inspired by the Old Masters.

How does your work develop? On which themes is your art based? How do you insert anatomy, harmony and balance in your art – as you have done in Support -?

Well, I’m a figurative artist, therefore I have certain things that I want to say to people with my art, and I like to say them in a way that people can understand what I’m talking about. That’s why I use an universal language. That’s why I use hands and human figures. I have this love for the human body, I think it’s a beautiful form, you know. The fluidity of a human body is, for me, something quite special and there are so many things to be said about it still, and so many different ways to say it.
Also, I want to have freedom. If I only used hands, or if I used only human bodies, I wouldn’t have that much freedom. I think the biggest challenge for an artist is to grow and evolve and so, that’s why I like to leave open how I create.

What do you think contemporary art is? What are the evolutions and researches in contemporary art?

I think, nowadays with social media, art is much more accessible. There are many art feeds right now. In a way, it’s confusing because there is so much out there to see, and you have to train your eye a little bit but, in the other hand, I like it. I like that people are able now to lay their own opinions, it’s not art critics who move the art of the world. It’s the people’s choice what moves the art in the world and I like that, because art should speak to the soul and speak to the people. I love the evolution of art right now, it’s great.