Tobia Zambotti (www.tobiazambotti.it) was born in Trento and he got his degree in Architecture at Iuav in Venice. He is currently studying interior design at Politecnico in Milan. During his studies, he spent much time in extra-courses projects such as individual exhibitions and architecture, art and design competitions.
You devote much attention to painting: why? Do you believe that it has a greater potential compared to other techniques you might make use of?
I develop my ideas through different ways: architecture, design and art. From an artistic point of view, painting represents my most patient and sophisticated style which I rely on when it comes to portraying complex and personal scenes.
Observing my paintings is like interacting with a kind and introverted person, you need to speak the same language to create a constructive connection. In this case, you need patience, curiosity and sensitiveness as your valuable cooperators.
This is the reason why we should not consider painting as the communicative mean with the greatest potential. Conversely, by stimulating senses it is possible to catch more and more people’s interest, and under this aspect Conceptual Contemporary Art can provide with innovative, surprising and subtle solutions.
The complexity of a tridimensional space interacts with the observers mentally and physically making the experience more real and direct. This is the language I reckon having great potential. Anyways, this knowledge does not discourage me from painting because it makes me feel good.
The moments I spend in front of canvas are intense, I re-discover the pleasure of living in a human body that breathes autonomously since if it were for me, I’d forget. Devoting our time to make futile things relieves our life, it’s the most futile thing in the world.
In your excellent website you propose two ways: Art and Arch. In Art you show your paintings divided into sub-categories (Oil on canvas; Nyln; Ink; Portraits). Would you mind picking one work for every category and analyse it?
The different categories stem from various periods and contexts. My personality interprets daily situations and feelings that are never monotonous because they change thanks to eagerness to have new stimulus.
My continuous search for amazement, for me in the first place, has led me to face different themes using different techniques.
I choose “W” for Oil on canvas” as I consider this work a manifesto of my vision of the relation between humans and nature. The house becomes a mountain and vice versa thanks to a simple prospective illusion.
As for “Ink” I choose “In & Out” which is the representation of, maybe too figurative, of the effects that environment has on our behavior.
The geometrical composition and the contrast among masses expresses my concept perfectly. In these pen-work ,it is the search for a good balance between details and empty spaceto allow the observers to perceive a vision of unity.
For the series called “Nyln”, would like to linger on the technique used and not on single works. It is an on-going search on the possibility to use colors carelessly. Nylon is used to separate colors from my hands permitting me to use materials easily.
The goal is to make Art even when I don’t have time or the right balance to concentrate on a more academic painting. From the series called “Portraits” I can say little. It was an experiment made ages ago to train to use oil colors.
Let’s speak about architecture. You have worked with several architecture labs, indeed there are many projects on your website. One that really impressed me was Nanà: a prototype of a wooden house with R.a.r.o studio of Trento on the occasion of a completion called LEGNO-CASA organized by Dolomiti Group s.r.l.
Your proposal was to buy and customize a house on a website. This could be a turning point to speed up and purchase a house. How did the idea come up? Would it be possible to make it happen also in Italy? In your opinion, what could the technical issues be?
The idea comes from a cooperation with Roberta Di Filippo and Roberto Salvischiani from studio R.a.r.o.. Nanà is a concept looking ahead in the future and presumably characterized by a crazy pace and a standardized production lacking passion.
Besides being a provocation that emphasizes future architectonic patterns, Nanà takes advantage of the great potential of 3D and the intuitive, dynamic and digital interface that today’s apps provide.
I reckon that currently in Italy there is no need to speed up the process of purchasing houses, but rather make it accessible to less privileged classes. I’d like to add that a digital interface, during the purchase and customization does not guarantee a direct contact which is key when a client is investing in a such important thing.
I am afraid to say that it is not possible to undertake this project in Italy for the time being. It belongs to a series of projects that we developers like to free us from bureaucratic and economic constraints.
Another interesting project is Melar Farmersmarket, a vegetable shop embracing comfort and guarantee of 0 mileage products. It is both interesting and welcomed seen the little guarantee that supermarkets provide ad above all it promotes a kitchen where you can buy sauces, jams and much more. The project was conceived for an Icelandic village called Fludir, wasn’t it? Was it completely carried out? Does Iceland advocate these projects more than others?
Melar Farmersmarketwas created by Guðjón Birgisson and Helga Karlsdóttir who wanted to sell their produce grown in green houses in Fludir. The presence of green houses in the south-western part of the island is linked to the geothermal activity which allow to heat the glass structures in a sustainable way.
This kind of production is essential if we consider how expensive the ship delivery is. The ongoing enlargement project reflects the need to meet the increasing number of consumers. Melar Farmersmarket promotes 0 mileage products joined by the trust that the Icelandic people has: in this market you can purchase produce without assistants and no surveillance.
I could not say if authorities are going to invest in this projects, but I can safely say that Icelandic people are always willing to support the initiatives of small local producers.
Last question: are you currently working on any projects? Will we have a chance to see a work of yours in Italy?
At the moment I am working on a project to nurture my soul, a trip to Northern Europe alone. The best ideas come from curiosity and observation. Therefore, I consider a good trip to grow on a human and creative level.
My next artistic and creative work I will d in Italy belongs to “Festival Pergine Spettacolo Aperto 2017”from July 7th until July 15th in Pergine Valsugana.
The installation investigates the theme of empathy through eye contact led by the project. Unfortunately Italy struggles at giving trust to young talents and renard them economically this is why I am always abroad.
I thank Urban Mirrors editorial staff, specifically Loriana for her deep interest shown towards my work.
Article & interview by Loriana Pitarra
English translation by Chiara Vilmercati