(Milan, 1974) Lives and works in Milan. Patrick Tuttofuoco’s practice is conceived as a dialogue between individuals and their ability to transform the environment they inhabit, by exploring notions of community and social integration in order to combine immediate sensorial allure with the power to trigger profound theoretical responses. Tuttofuoco melds Modernism and Pop; he presses figuration into abstraction, using man as the paradigm of existence, as the matrix and measuring unit of reality. From this interpretative and cognitive process, infinite versions of man and the context of his existence are produced, from which shapes able to animate the sculptures are generated.
Patrick Tuttofuoco participated in the 50th Venice Biennale (2003), Manifesta 5 (2004), the 6th Shanghai Biennale (2006) and the 10th Havana Biennal (2009). His works has been exhibited in several institutions such as Fondazione Sandretto Re Rebaudengo, Turin (2006), the Künstlerhaus Bethanien, Berlin (2008) and Casa Italia, Pyeongchang (2018). In 2017 he was selected by the Italian Council announcement with the ZERO project presented in Rimini, Berlin and Bologna (2018).
“My desire is to find new techniques that can describe emotions that have no time and that are able indeed to project themselves beyond this paradigm; for this reason, the difficult part is often to find an interlocutor able to respond to this paradox and especially that’s able to do it in a productive manner.”
I’m very happy for the dialogue and the artistic exchange that is being built between me and Giovanardi staff.
It’s exciting to see so many skills and design excellence flow into one place, at first it was really the many skills that guided me and pushed me creatively.
My desire is to find new techniques that can describe emotions that have no time and that are able indeed to project themselves beyond this paradigm; for this reason, the difficult part is often to find an interlocutor able to respond to this paradox and especially that’s able to do it in a productive manner.
My feeling is that in this place there is that extremely delicate balance between thought, shape, space and time… a pragmatism that, in its deepest and most complete application, can also talk about soul.