Interview: Bluenight
Luca Curci talks with Bluenight winner of the ARTIST OF MONTH – September Competition.

Life, for him, is a long road made of many stops and starts. The first start was on the 12th of November 1969, when his journey began in the lost and curious landscape we call the world. An important stop came in 1992, when he enrolled at the Academy of Fine Arts in Bologna. For the first time, he paused. Whether out of boredom, by chance, or for pleasure, he never knew. Over the long span of six years, he matured and developed a personal style rooted in independence of thought. In 1999, he presented his thesis titled “CLIPBOARD OF A PICTORIAL RESEARCH IN BECOMING.”
He dedicated this work to all those who have lost their way home, who have turned the world into a dream and life into an adventure. After experiencing life and art in Dublin and later in Hungary, he continues his research into quantum painting, exploring even more combinations through the analysis of various forms, including cultural ones.

Luca Curci – What’s your background?
Bluenight – I am a painter who loves travelling and discovering new interests. My artistic journey began at the Academy of Fine Arts in Bologna, where a constant search in pictorial research shaped my vision. There I found a new kind of knowledge, what I call quantum painting, a path to awareness through observing reality. I visited the academies of Venice, Florence and Bologna, and in Bologna I found the energy of art, study, literature, and life coming together. I am a painter in becoming, endlessly searching for new knowledge, new realities, and new ways to define life through sound, words, and image, a painter of the quantum era, capturing the indeterminacy of a mood on canvas.

LC – What experience has influenced your work the most?
B – Many experiences shaped my work. Bologna was central: the city offered harmony between study and life, giving me intellectual tools to explore colour, rhythm and the dimensions of painting. Days were for studying; nights for wandering, the beginning of the soul’s mirror. Dublin was another turning point. Seeking new ideas for my second mirror cycle, I moved there to break the routine. Months of painting allowed me to refine my aesthetic and discover new technical solutions, a journey through space and time. Hungary was a deep, silent month devoted only to colour: no speaking, just painting, listening to silence and noise. That solitude sharpened my sense of rhythm, time, and chromatic value.

LC – Which subject are you working on?
B – I continue my evolving pictorial research focused on the theme of mood, fragments of everyday life suspended in space, time, rhythm, and colour. My paintings act as mirrors of a changing truth, reflecting the human being thrown into the world. My new cycle, Fragments of a Mirror, explores voids and solids shaped by silence and noise. A series of 10 square canvases reduces space and time to a tighter structure, capturing the uncertainty of a moment, a sigh transformed into colour and rhythm.

LC – Do you use art to express something in particular?
B – Art is a weaving of shape, sound, and image shaped by experience. On canvas, these elements become signs refined by culture and thought. The artwork becomes a mirror that expands in the viewer’s mind, evoking memories and emotions suspended in space and time. To look into that mirror is to rebuild images in a new phase, pedagogical, anthropological, and emotional. My work reflects on the sign as the measure of inner rhythm, the essence of the artwork. Through this search for meaning, we approach a philosophical dream: knowing that we are dreaming, questioning endlessly, and letting ourselves flow within the indeterminate space-time of our own reality.

LC – Is it your medium of expression?
B – I work exclusively with acrylic colours, blue, red, yellow, white, and black, creating endless nuances through layered applications. Using paint rollers, I build veils of overlapping tones that form a chromatic harmony. This slow layering gives depth and a mood suspended in space and time.

LC – How do you feel when the work is completed?
B – When I see the finished piece, I feel joy and emotion, as if I were stepping inside the story it tells. It’s like reading a book whose pages awaken memories; the artwork becomes a sea of moods in which I feel fully immersed.

LC – Has your style changed over the years?
B – Yes. I began with brushes on small canvases, then moved to larger formats that led me to adopt paint rollers. This technique allowed me to create richer nuances and a unified composition, where the artwork feels like a single body. I transitioned from figurative drawing to abstraction, focusing on space, time, colour, and rhythm, turning reality into a vast, emotional universe.

LC – Was the artwork created for this exhibition?
B – The piece belongs to a series called The Cycle of Ulysses. These small works explore fragmented space through colour and rhythm, balancing small corners and larger fields of pure colour.

LC – What do you think of the event’s organization?
B – It’s a valuable opportunity to meet artists and discover different visions of the same themes. I appreciate an exhibition that brings together artworks, texts, and reflections, a space where artists and audience can share a living experience.

LC – Did you enjoy cooperating with us?
B – Absolutely! I’m grateful for the chance to exhibit and meet such a wide audience. Your team’s passion for art and artists is evident, and I truly enjoyed the collaboration.