Jacob Hicks in Conversation with Alessandro Sicioldr

oracolo-2016

Oracolo, 2016

Alessandro Sicioldr follows in a long tradition of visionary artists. His works are directed by an informed unconscious, by the Jungian depths of communicative symbol. I discovered it through social media, and have watched in wonder as his pool of active, beautifully haunting imagery changes in content, but never in quality.  Sicioldr employs a luminous visual voice, and so I reached out to discuss his process and motivations.

lenigma-del-sogno-o-il-risveglio-2016

L’enigma del sogno o il risveglio, 2016

I see in your work a dream language, an undeniable root to Jung’s collective unconscious, an internal human truth in archetype that resonates so loudly with me. Talk about a few of these elements/motifs in your work

*The double, The Tree, The Sphinx, The King, The moon, Water…

It’s always been hard for me to talk about my images, since they speak through a visual language which is ambiguous, sibylline. I come from a scientific background, (I have a degree in computer science) so I am very careful when talking about mind, spirituality, symbolism and topics involving facts that are impossible to prove with rational means. Rules and boundaries are useless when dealing with metaphysics, so I just let my inner world speak without asking questions. These images are important for me and when I think about them I get a particular feeling. They need to be represented and they follow their strange irrational rules. Why do I put an element there, or use that particular color? It is because it should go there, these are the rules of the painting. I don’t think about symbolism because deliberate and intellectual reasoning can spoil the purity of a composition and the result can easily be fake. I recently discovered that a lot, maybe all of my paintings are composed within the rules of the golden section without knowing, I find this incredible but this is how human minds work.

 

la-soglia-2016

La Soglia, 2016

What does your process of making look like-do you improvise in paint, do you start with a sketch or composition? Do you work primarily from imagination (I suspect), and how does reference play into your procedure?

I do not have a rigid scheme for the conceptual part because art is like love. There isn’t a routine for falling in love, you just do it, you just feel it and your soul is inclined toward that particular thing. I am a compulsive sketcher, I sketch everything and when I feel that something is important I begin the painting process. The painting process is a mix of craftsmanship and improvisation. I use traditional and contemporary means, I aim for the best not for the old fashioned, so if I prepare myself the raw linen it is because I like it more than industrial ones. I have no rules for references, often I paint from imagination because it is hard to find models like a giant bird chariot with a strange head inside moving on roots with heads inside and pulled by sacerdotes wearing red capes in an icy landscape. But I use some photographs and models to help me a little bit. The fact that I have no real reference is the hardest part of my technique, it is easier to work with a model.

 

adams-dream

Adam’s dream, 2015

Tell me a little bit about your education-who you studied under/major artistic influences…

I am a self taught, as I said before I have a scientific background but I always nurtured a passion for art, for literature. My mother and my father are both people with great culture, plus my father is a painter and he gave me some basis but I’ve never received a technical lesson in my life. I see paintings, I make copies, I study a lot. The problem with many artists is the lack of culture and experience in fields that are not related with art. I think that a creative should devour tons of books, visit museums, and be curious about things that are difficult. My main and unique influence is my inner world, but i have a deep love for the primitive art, the art of ancient civilizations (I live in the land of etruscans) the byzantines, the medieval and oriental art, the Italian and flemish primitives, Piero di Cosimo, Titian, Lotto, Paris Bordone, Bronzino, Parmigianino, symbolism (Kubin, Redon, Moreau, Spilliaert, Khnopff, Klinger, Kobliha), Felix Vallotton, Gauguin, surrealism (mainly Max Ernst, Kay Sage), the first De Chirico and so on… I also like a lot of contemporary artists!

 

the-well-salome-2015

The Well (Salome), 2015

What do you do to pay the bills? What galleries do you show with? Do you have advice for working artists on how to get their work seen?

I sell paintings and drawings to pay the bills, both alone and with galleries (in and outside Italy), I’m still young and I hope to grow and to reach a wider audience. The only advice I could give is: make great paintings. Do not aim for success, that is a consequence. Money is important but if that becomes the main issue there is something wrong and it is better to get a day job. A day job will allow you to be free, that is the most important thing, not career..

 

la-sibilla-2016

La Sibilla, 2016

Do you have any news, projects, or upcoming exhibitions you would like to share?

No news in these months, I am taking a small break from shows and I am focusing on creating new works. I often need a period where I just paint.

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