Interview: Rafhä​el Comodino

Interview: Rafhäel ComodinoImage courtesy of Rafhäel Comodino

Interview: Rafhäel Comodino

Luca Curci talks with Rafhäel Comodino during LIQUID ROOMS, THE LABYRINTH in Venice.

Rafhäel was born in Rome in 1990. There he could practice physiotherapy rehabilitation after the left top side of his body was paralysed during birth. He finished his studies in art in 2010, then moved to Argentina for a time, before returning to Europe. Here he experimented the possibilities of freedom of movement beyond the borders which helped to inspire his work developing art that is able to go beyond the limits of the body. From 2012 till now he has been living and working in London, Toulouse, and now Berlin. He continues his research in making Art a medium for a “universal popular tradition”, able to restore the feeling of an already existing connection between human beings, that can confirm us as a part of a bigger organismus.

 

Interview: Rafhäel ComodinoImage courtesy of Rafhäel Comodino

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Luca Curci – What’s your background? What is the experience that has influenced your work the most?

Rafhäel Comodino – I was raised in the 90/00s in the suburbs of Rome. The event that has impacted me the most and determined my approach to life from the very beginning, as well as the nucleus of my work, was the act of my birth.

 

L.C. – How do you find creative inspiration?

R.C. – I believe that inspiration can happen in every situation and in any time, when creativity is a condition of the mind. Since my childhood, I developed an attitude for find different ways to perform my everyday duties. I trained this capacity through the experience over the years. What I have today is a creative language with the everyday life that I have to keep developing.

 

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L.C. – Did your style change over the years? How?

R.C. – Ever since I can remember, I used to draw. I then began painting. I had a first, figurative phase where I gained control of different techniques, than i evolved to a more conceptual phase. This process has brought me now to a point where my work is not based on a specific ability but on the associations and relationships between physical limits and limits of materials. So, these days, my work does not depend always on me, but it also receives a input from the situation where it happens, giving as result an unpredictable style.

 

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L.C. – How is being an artist nowadays?

R.C. – Nowadays, the opportunity for art happens everywhere without limits of expression. This gives new meanings and functions to the word ‘artist’. In this collective movement, I define myself as a tool of art. I donate myself to this process until I disappear into my works, leaving only the essence of vital energy as a trace of my presence.

 

L.C. – What’s the art tip you usually receive? Do visitors’ suggestions enrich yourself and your art?

R.C. – It’s not just about tips and suggestions of the “visitors”. I keep a constantly incoming flow of information where I try, by catching a feeling of truth in the meanings of people, to find the way to upgrade my work in a clearest possible vision of myself.

 

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L.C. – What are you currently working on?

R.C. – I am now focused on finishing the Berliner production and will complete this process developing the information collected during the last two years, to evolve in a new phase of my work.

 

L.C. – There’s a lot of artwork on the market today, how do you differentiate yours from the rest?

R.C. – I don’t know. I don’t have interest in that. I prefer to find the common point between mine and others works. When I can find an element of union, I am able to develop an empathy which allows me to dive into the peculiarities that characterize the style, the artist, the stories. I need to find points of reflection and knowledge more than differences. I wish to my art to be more universal than different.

 

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L.C. – Did you feel comfortable cooperating with us?

R.C. – It was “Simpatish”! I needed to taste this format, after coming out with an intense collaboration with part of the Berlin underground world. As it was my first time, it was useful for me to gain better knowledge of ambience, which I only had a personal idea about, allowing me to shape a more accurate image of this reality.

 

L.C. – Do you think ITS LIQUID GROUP can represent an opportunity for artists?

R.C. – I think collaboration with ITS LIQUID GROUP can be valuable as both personal and professional experience.

 

more. www.rafhaelcomodino.com

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