Cosimo Casoni
“I can’t help it, I grew up in the city of the Renaissance, did graffiti for years, and here’s the result!”
Cosimo Casoni, born 1990 in Florence, lives and works between Grosseto, a small village in Tuscany, and Milan. We recently met in Berlin, visited a group exhibition together and chatted about art and life. Cosimo travels a lot, moving between the peace and quiet of Tuscany and visiting big cities for inspiration and exchange with other artists. Over the years he has explored different territories and found his very individual approach to painting. He combines traditional themes of landscape and still life with various post-graffiti styles. It’s a great pleasure to follow his artistic development and to welcome him now to the Studio Talks series. We talked about subcultures, skateboarding as a painting technique, graffiti, post-vandalism, jazz music and that sometimes you need a little distance from social media.
Ciao Cosimo, it’s great that you’re joining the Studio Talks series, makes me very happy. We’ve met twice now in Berlin, how do you like the city, the vibe? Does it serve as a good source of inspiration for you, or do you find it more exhausting?
Hi Malte, thank you for inviting me to this interview. I've always been fascinated by Berlin and East Germany since my university days. My first visit to Berlin was in 2015, thanks to my debut exhibition abroad, and I fell in love with the city that year. Since then, I've returned twice: once as a skateboarder touring with friends, and later as an artist participating in a group exhibition at NBB Gallery, marking a significant milestone in my career. Berlin is a huge inspiration for me, especially its atmosphere in autumn. I remember Neukölln: the blend of nature, architecture, and graffiti is something deeply poetic for me, inevitably pouring into my work. I loved cycling around the city, and in its green parks even at night after a punk concert.
You’re traveling a lot and you often meet other artists – how important is this kind of exchange for you, also studio visits and so forth?
I have always been quite nomadic, ever since I was a child. After spending 12 years primarily in Milan, I made the decision to relocate my base to the beautiful Maremma region, in my mother's hometown of Grosseto, which I’ve always frequented in the summer periods since I was born. I love where I live, even though winters by the sea can be tough if you're used to the nightlife of big cities. Living in Maremma allows me to focus on work, not get distracted, and unleash my imagination to the fullest, leading a more relaxed life and dedicating myself to my two passions: skateboarding and climbing. However, I find myself periodically seeking new experiences. Whether it's for an exhibition opening, a residency, or simply to change scenery, I choose to relocate to generate new work connections and friendships, returning home more inspired. I have always been warmly welcomed by artists in Berlin, with an unexpected warmth and eagerness to exchange ideas. One of the best meetings was with Clemens Behr, after visiting him in his Studio in Kreuzberg, he took me to skate together with his other friends in different spots around the city. It will remain a beautiful memory.
That sounds amazing, and I also adore Clemens’ work. Speaking of traveling: You've been on several artist residencies across Europe in recent years. Which one was the best for you and your work?
It's difficult to put into words. Each experience abroad has left a profound impression on me, which lingers long after the actual residency ends. Among them, the one closest to my heart is undoubtedly my first residency at LIA in Leipzig's Spinnerei. I was just 25 years old then, and it was where my journey in painting truly began. To give you an idea, I was in the epicentre where "The New Leipzig School" emerged, which obviously influenced part of my research, particularly concerning image construction and the architectural composition within my paintings. The most recent one, the Farmlands residency in Luxembourg, managed by the artist Eric Mangen, has also left a profound impact on me. What I appreciated about this experience is the spontaneity of how it came about; a sort of do-it- yourself residence; I had just left the studio in Milan and Eric invited me to spend a month in his house/farm and sharing his studio with me. Eric became like an older brother to me, a great example in terms of studio attitude.
I can well imagine that you guys had a good time together, I have known Eric for a while and am sometimes in contact with him, he has an incredible energy! Now, maybe you can say a few words about your education and your time at the university. You studied at Art Academies in Milano and Firenze, receiving a classical Italian painting education, right? So, you can basically paint like an old master - or perhaps come close?
I grew up in Florence, where my great-grandfather left behind a vast collection of late nineteenth to early twentieth-century paintings, mostly from the Macchiaioli art movement. During high school, I received a classical education in drawing, sculpture, and painting, and I learned to master various techniques. This gave me solid basis but also imposed limits on me regarding more contemporary modes of expression. Over time, I realized what truly interested me and how I could combine the figurative approach I had learned over the years with my new experiments, such as „skate painting" or „finger tricks," without completely abandoning my past skills. I can't claim to be on par with an old master; it would sound presumptuous in the face of history. I believe I have good abilities, especially in painting reproduction from life, but it's no longer my main interest. The French philosopher Bernard de Chartres said that we modern artists are dwarfs standing on the shoulders of giants (Old masters). I find this metaphor even more relevant and meaningful today.
Yes, absolutely. You mentioned „skate painting“, let’s talk about the process and techniques a bit more: you work with traditional painting techniques but also break with them, contrasting them with other styles and creating your very own visual language. For instance, you told me that you love skateboarding and integrate it into your painting process - can you explain how this works?
When I was about 25 years old, I realised that I was dependent on figurative reproduction, which, in my case, didn't possess many unique qualities aside from composition. So, I decided to dive into something completely different and took a leap into the unknown, choosing my skateboard as a companion for this a bit terrifying but exciting journey. My initial experiments with skate painting were entirely monochromatic. I explored the mark, focusing on its aesthetic and evocative aspects. The act was mostly performative; I attached canvases to various structures in the skatepark and skated over them or had friends skate on them while I guided their actions. After that period, this performative or happening approach couldn't be sustainable in the long time, as it would exhaust its possibilities. So, I began to use the skateboard with my hands, exploiting both its peculiarities and limitations, transforming the skateboard into a paintbrush. In general, I consider working with my skateboard just one part of my artistic exploration, an ingredient. On its own, this aspect isn't sufficient to fully describe my person, ideas, and abilities. So, I began combining it with other styles, techniques, and themes, further shaping my identity as a painter.
Does the skateboard subculture in general have an influence on your work and your attitude?
It continues to have a strong impact on my work, which feels quite organic considering my consistent practice in a way - essentially, I paint what I live…
“Essentially, I paint what I live.”
In reflecting on your journey since earning your Bachelor’s Degree in Visual Arts and Painting, approximately 10 years ago, could you share some insights into the challenges you faced in establishing yourself and thriving within the art market post-graduation?
It has been and continues to be very difficult, especially because I am Italian and have a love-hate relationship with my country; a country full of young high-level art but with a challenging economic response. It's not a state that supports artists, and in my opinion, the number of artists is disproportionate to the number of collectors. My paintings mainly find success outside of Italy, currently mostly in Sydney, where the Piermarq gallery is doing excellent work with my art. I survived in the early days by doing other jobs, and also thanks to the support of my family, who perhaps believe more in my potential than I do. In recent years, producing artworks has become a full-time job and perhaps my primary reason for living; I try to give my best with what I have, managing the ups and downs that come with it, hoping to leave something great in the world. I am very optimistic; my growth is gradual, and I'm not seeking any kind of market explosion that can often turn into a real nightmare. We have to paint until we're ninety in the end..
“I try to give my best with what I have, managing the ups and downs that come with it, hoping to leave something great in the world.”
You took part in two shows that were curated by Stephen Burke, in Rome and London. He is the founder of the social media platform Post Vandalism – and as far as I know also the inventor of that term – which explores the aesthetics and concepts of graffiti, protest and resistance. How did this come about and are you planning any more shows with him?
I got to know Stephen through instagram around 2017 and our relationship was characterized by mutual respect from the very beginning. Over the past few years, I've been fortunate to get to know him personally and participate in two exhibitions as an active representative of this movement. I know he has several projects in mind, one of which I would be involved in, right in Berlin.
What does post vandalism mean to you and what is your relationship to graffiti or post-grafitti?
As a teenager, I dabbled in graffiti, although my primary focus was on rapping. This strongly connected me to the subculture and the underground scene. For me, post-vandalism or, more broadly post-graffiti, represents an evolution of the graffiti imagery as we've known it for decades, shifting towards a more refined key that transforms it into painting or visual Art with a capital „A". Each artist belonging to this movement draws inspiration from urban aesthetics to reconstruct their own vision and poetic. My work aligns well with this imagery: the use of skateboarding theme, which has always represented the most recognised urban practice, or the finger paintings reminiscent of dirty truck doors, are examples of this clear connection to post-graffiti. I feel that unlike some of my colleagues in the genre, the use of techniques in my case results in a "gentle" approach, with a degree of harmony more akin to pure painting than strictly vandalistic acts. On one hand, I detest this aspect of myself, but on the other hand, it defines my personality. I can't help it, I grew up in the city of the Renaissance, did graffiti for years, and here's the result!
Which themes do you like to address in your paintings?
Lately, I've been focusing on the theme of landscape, producing a series of small works, exploring it both individually and combined with abstraction. Generally, I keep several works in progress, where I experiment with different languages that often intertwine: I switch from quickly marking the canvas with my skateboard to the slow execution of an oil landscape for example. I enjoy the alternation between order and disorder, outlining geometries amid some clumsy spray marks. My work is "open”, operating in cycles that I can abandon and resume even after several years, albeit with a different maturity level.
How important is social media, especially Instagram, for you? Do you use it mainly for creative research or as a portfolio or to promote exhibitions etc.?
Instagram is the only social media platform I use, and while it's important, it's not everything. It has helped me in my career, but it can negatively impact my personal life. I go through periods where I tend to use it a lot, both to promote my work and to discover and follow art around the world. And there are times when I distance myself from social media to immerse into my sacred silence and be focused on everyday life and painting production. I prefer having real contacts to build projects and exhibitions, and I usually send my portfolio after a human connection. Just like I did with you.
I can certainly feel that and I have phases like that too, where I need a little distance from social media. What kind of music do you listen to while you paint?
I appreciate all kinds of good music regardless of genre and I'm quite dependent on listening to it because I find it closely connected to my painting process. Lately, I've been struck by the multifaceted jazz musician from Lisbon, Bruno Pernadas, and I find many resonances between his music and my work as a painter; both of us intertwine different styles while maintaining our recognisability.
Sounds interesting, I will check it out. Which exhibition that you’ve seen recently impressed you the most?
A few days after our meeting, I had the honour of visiting the Neue Nationalgalerie for Gerhard Richter's exhibition entitled: “100 works for Berlin." I had seen his work on multiple occasions in my life, but never with this number of pieces; it was truly exhilarating. Regarding emerging art, I was struck by the paintings of Sebastian Hosu during a morning spent together in Leipzig.
Oh nice, yes Sebastian’s works are stunning. Which artists are your biggest inspiration at the moment? Or have been important to you in the past?
I could talk endlessly about this; I have had and still have many loves! I believe that my influences are primarily Italian, from the Renaissance to today, and German - of the last 40 years - in the art world. As for America, I am mainly drawn to abstract expressionism, such as that of Willem de Kooning. Painters like David Ostrowski for the minimal abstraction and Matthias Weischer for figurative, continue to be a great source of inspiration for me. Ostrowski for his freshness and essentiality, Weischer for his great compositional skills and use of color. None of them has ever bored me over time. Lately I'm admiring the Italian painter Luca Bertolo, especially for his freedom to switch between genres, beyond the confines of recognisability.
What’s next? What’s coming up in the near future?
I will be participating in the Can Art exhibition in Ibiza with the Piermarq Gallery, showcasing a new collection of small and medium-sized artworks. There are other exciting exhibitions on the horizon for this fall, but I don't want to spoil anything at the moment.
Wonderful, please keep me posted. And thank you for the lovely chat – hope to see you soon again.
Thank you Malte, I'm sure we'll meet soon in Berlin and spent good time together again!
Cheers!
Photo Credits: Cosimo Casoni