CONSTELLATIONS/MIGRATION: Q&A with Pietro Ruffo
Pietro Ruffo studied Architecture at the University of Rome before moving to New York for a research scholarship at Columbia University. Since 2004, he has been working in Rome from his studio at Pastificio Cerere. Ruffo’s art investigates the great issues of universal history—especially individual freedom and dignity, which are constantly threatened by the ongoing homogenization contemporary society. Ruffo’s main solo exhibitions include: “Constelacoes Migracoes”, Centro cultural Correios, Rio de Janeiro, Brazil; “L’illusion parfaite”, Galerie Italienne, Paris; “Terra Incognita”, Delhi; “Breve storia del resto del mondo”, Fondazione Puglisi Cosentino, Catania, Italy; “SPAD SVII”, Galleria Nazionale d’Arte Moderna, Rome; “The Political Gymnasium”, Blain Southern London; “A complex Istant”, Moscow, special project for the Fourth Moscow Biennale; “Irhal Irhal”, Lorcan O’Neill gallery, Rome.
CONSTELLATIONS/MIGRATION was on view at Hillyer May 3 – June 30, 2019.
Your work is incredibly intricate and meant to reflect your social and moral concerns, as well as your stance on specific ethical issues. How have the mediums you have chosen reflect how you grapple with these complicated issues?
The medium I use is paper. I am an architect and I love to draw. I often start from the analysis of ancient geographical maps — these are documents that allow me to analyze power relations in different periods of history and from these I start my artistic work.
What are some of the main issues and themes in your work?
The topics that interest me are the power relations in various historical periods. The themes of self-defense of freedom and, during the last few years, the theme of migrations, are those which I have worked on the most, using drawings always as an analysis tool.
You describe your work not as a finished product but as “process-based research; open-ended and in continuous development.” Can you talk a bit about your process behind your work and what you would want viewers to draw from it?
Each project starts from an interest about man, from the study of the human condition in different historical moment. I am like a researcher who goes to the library and takes notes, the only difference is that my notes are graphic and not written. The paintings that I propose are never a summary or a point of arrival on a given theme, but just my notes. From there everyone watching them can get their personal idea on that theme.
What has been a piece or exhibition of yours that best embodies your artistic vision?
Each show is different and interesting at the same time. The show I am presenting in Washington, DC at IA&A at Hillyer, goes through the themes of migrations, drawing inspiration from geographers, cartographers and astronomers from ancient times to reflect on history, conflicts and human relationships. Assuming that migration and resettlement have always been intrinsic to the life of all species, humans and animals, I made ten important works on the balance of power inherent in those phenomenon. The group of four big drawings, titled GOLD MIGRATIONS – ink on emergency blanket – is focused on this theme by juxtaposing the shape of the national borders (North America, South America, Africa, Italy) with ancient historical scenes of migrants and native peoples recomposed into original fantastic narratives. Different ethnic groups, different layers of thoughts and ideas converge to simultaneously evoke the my perspective on the most controversial and complex issue of our times. The use of the gold blanket as a support highlights the state of emergency and the difficulties faced by those people who try to enter and integrate into territories and communities with different values.
