Ufo's everywhere

Added on by giuseppe ragozzino.

Well, at least in my studio. I did a bunch of these and this was my fav. Let me know if you want to see more. Oh, and they're pretty big. #Ragozzinoart

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Me and Roy

Added on by giuseppe ragozzino.
There's my little painting on the wall there next to a massive Roy Lichtenstein painting. They both hang in the famous Robert Venturi home located in Pittsburgh. #ragozzinoart 
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Untitled 60"x80" — In progress and on the move

Added on by giuseppe ragozzino.

After seven years of working in a studio within my home, I am moving to a new studio located in Lawrenceville (Pittsburgh, PA): the Radiant Hall. The Radiant Hall is a creative space for 20 plus painters and sculptors (https://www.facebook.com/pages/RADIANT-HALL/114669108708399). The large painting below, currently untitled, will be the first of my works to be developed and completed in the new space. Thank you to all who have supported and continue to support my work.

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The Union Hall Times (Interview)

Added on by giuseppe ragozzino.
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AW: Is there a main theme/concept to this exhibition?
GR: Reduction: discarding the unnecessary egoistic elements of my natural system.

AW: What is the significance of the exhibition's title Black & White Rebellion
GR: The paintings are obviously black and white, but the word rebellion is more caustic. It represents a rebellion against what people conceive a painting to be: a narrative, an allegory, a pretty thing that matches a couch, an intellectual thing that implies class, an object that is made for you. I am choosing not to oblige any other external expectations but to, instead, value only the action of applying material to surface. I remove the perceived external value, observing only its internal value: the process.

AW: Is there a signature piece in the collection? 
GR: I have my favorites, but no, every piece is part of the practice. To me the practice is the collection.

AW: What techniques are you utilizing in these pieces? 
GR: Pouring, brushwork, canvas orientation, and the manipulation of time.

AW: Where/when do you paint? 
GR: In my studio.

AW: Describe your creative process. 
GR: The majority of my process is cognitive - finding meaning and rationale. The rest is execution, both planned and unplanned.

AW: How does your creative work at Mullen compare/contrast/relate to your work on canvas and in this collection? 
GR: Advertising is selling red meat to hungry, yet committed, vegetarians. Painting is eating the red meat.

AW: Reflections on commercialism and art you'd care to share? 
GR: I have learned to create non-reality in advertising and reality in painting.

AW: Best solution to 'creative/artist's block'? 
GR: Keep working as if it were a job and you’ll begin to notice that it is more of a tidal process and not just a freak storm.

AW: Inspirations for the exhibition? 
GR: Self-awareness is my primary inspiration, but I also love playing with ideas and material.

AW: Name a few of your creative influences and why. 
GR: Mark Rothko, Joseph Campbell, Terrence McKenna, and thousands of other’s paintings. For a variety of reasons, but universally they all teach me about the malleability of reality.

AW: Tell me what your average work day looks like. 
GR: Music and coffee to get me moving, then news and ad work, followed by reflection and solitude, and finally, I’ll paint (or stand in my studio and stare at a canvas).

AW: Best exhibit/piece you've seen recently? 
GR: Gregory Barsamian at Wood Street Galleries. His sculpture is kinetic, cinematic and magical.