What is my work about?
My work starts with the idea of collecting the fine dust of the never ending process of creative destruction enacted by the laws of Nature, its signs and elemental particles, the trace of their transformation, union and disruption. What I try to capture is a glimpse of the energy’s flow permeating life, its timeless continuity. I create a synthesis, a personal cosmology of archetypes: mythical imagery and folklore as much as personal narratives and memories, dig in the collective subconscious, in the unthinkable depth of time. My work demonstrates a thesis in an inductive way, from the particular to the universal. I am fascinated by the primitive intuition of the opposites, their fatal coexistence and reciprocal dependence. The invisible and discreet strength in which life streams, lies at the core of my creative process. The human need to freeze it, extracting and representing data is what I want to question, transcending the historical forms of human expression and exploring the permeable boundaries between abstraction and reality.
On a recent trip to Petrified Forest in Arizona, I found myself in the middle of the desert surrounded by petrified woods. Millions of years ago a lush forest was there, but now the woods are broken into many pieces like collapsed columns and appear like ruins to me. The woods turned into colorful mineral, they bring inside the history and testify the life of millions of years ago. That image reminded me when I was at the Acropolis among all those ruins in Athens and made me think about time, its relativity and the idea of human being as an abstraction. In an universal perspective there is just this continuous dynamic of building and destroying to always create something new through a surviving process. I feel some kind of aggressiveness into this untiring transformation but also a tension to life, which human beings are the most complex example we know of.
This personal experience has been a major influence in the development of my recent body of work and starting from that vision I most specifically put together my latest solo project “Deep Time” (images 1 to 14). The scientific notion of deep time refers to the time scale of geologic events preceding humanity. A timeline so infinitely extended before and after humanity’s passage can bring the most vivid imagination to the point of paralysis.
In my work different elements try to reflect the above feelings. Roughly treated surfaces suggest aggressiveness and violence (for example the burned surfaces on images 5, 6, 10, 11, 12), contrasting with the subtle lines and delicate but rigorous structures (images 2, 4, 7, 8, 9). The concept behind this process refers to the search for a unique vocabulary of archetypical shapes and symbols, an essential and mute alphabet in which natural processes are coded. Elements in the paintings often want to remind the section of the petrified wood. The bright chromatism that shape it seems to be the source of things that feeds life, the balance between organization and chaos into the unknown (detail images 6, 16, 20).
The use of heavily treated industrial material, evokes the image of urban ruins, turned by time into what the Acropolis and the same Petrified Forest represent, the never-ending process of creative destruction. My work evokes a temporal tension and a sense of continuity which transcends the historical forms of human expressions, the contingent features of its civilization, expressed, for example, in the triviality of industrial materials, used to construct objects destined to become soon obsolete.
In my paintings the use of oil paint is contaminated by mixed techniques and gestural inserts but carried out with the discipline of a miniaturist. The methodical attention to detail is an important aspect of my practice, it leads to a double reading of the paintings, microscopic and macroscopic. Such dynamic re-enacts somehow the scale of nature, where biologic organisms, composed by elementary structures, atoms, cells, molecules, lead towards macroscopic complex structures like galaxies and the all cosmos itself, and underlines the dichotomy waken by the gestural interventions on raw materials against the accuracy and slowness of painting. Organic shapes at times remind undefined animal silhouettes or other life forms in the process of evolution, other times recall the idea of streams: water streams coming out of a fountain, rivers’s aerial views, the Milky Way (for example images 7, 9, 14) .
In conclusion, my work offer a formal synthesis that aims at an abstraction of reality which reveals deep and hidden aspects, invisible to the eye and irreducible to the shape and representation of real data, questioning the incongruences between abstraction and reality.
“Deep Time”, curated by Marco Antonini, NURTUREart. New York, US.
“Burning colors trying to turn my blood black”, Luis Adelantado Valencia. Valencia, Spain.
“Davide Zucco”, San Pietro in Atrio. Como, Italy.
“EvilDevil”, curated by Alfredo Sigolo, Perugi Artecontemporanea. Padova, Italy.
“No tears”, Mogadishni. Aarhus, Denmark.
“Hysterical Friction”, curated by Ichiro Irie, Tiger Strikes Asteroid. Brooklyn, NY, USA.
LMCC Process Space Open Studios, Building 110 LMCC’s Arts Center at Governors Island. New York, USA.
Joe Brittain, Ethan Greenbaum, Kristen Jensen, Davide Zucco: ”Personal Prehistories”, curated by Marco Antonini, Scaramouche Gallery. New York, USA
”Open in painting.”, curated by Gianluca D’Incà Levis, Rifugio Brigata Alpina Cadore. Belluno, Italy.
”Roccedimenti. Fatte, non finite, le nature contemporanee.”, curated by Gianluca D’Incà Levis in collaboration with Guido Bartorelli, Nuovo spazio di Casso. Casso (PN), Italy.
”Marche centro d’arte”, curated by Gloria Gradassi, Pala Riviera. San Benedetto del Tronto, Italy.
”DC Pulse 2”, curated by Gianluca D’Incà Levis, Sass Muss Dolomiti Contemporanee. Belluno, Italy.
”DC Paint one”, curated by Gianluca D’Incà Levis, Sass Muss Dolomiti Contemporanee. Belluno, Italy.
”IL RAMO D’ORO: opere dalla collezione della Galleria Comunale d’Arte Contemporanea di Monfalcone”, curated by Andrea Bruciati, Eva Comuzzi, Teatro Nuovo Giovanni. Udine, Italy.
”Benevento Biennial–Mario Razzano Award”, curated by Associazione Proposta, ARCOS Museum of Contemporary Art Sannio. Benevento, Italy.
”Five rooms”, curated by Gianluca D’Inca Levis. Villa Miari Fulcis, Belluno, Italy.
”Lidrìs”, curated by Eva Comuzzi in collaboration with GC. AC. Rivignano (UD), Italy.
“Anni 10”, curated by Axjinia Durova, State Institute of Culture. Sofia, Bulgaria.
“Draw”, curated by Erik Foss, Curse Mackey, Miguel Calderon, Museo de la Ciudad de Mexico. Mexico City, Mexico.
“Off Road”, curated by Luca Vona, Hotel Mercure. Rome, Italy.
“Mother of Hedone”, curated by Ichiro Irie, Jaus. Los Angeles, CA, USA.
“Anni 10”, Studio d’arte Cannaviello gallery. Milan, Italy.
“93ma Mostra Collettiva”, Fondazione Bevilacqua La Masa. Venice, Italy.
“CALL 09”, Luis Adelantado gallery. Valencia, Spain.
“CO.CO.CO.”, Pinacoteca Civica di Como. Como, Italy.
“L’immagine sottile 03”, curated by Andrea Bruciati. GC. AC. – Galleria Comunale d’Arte Contemporanea di Monfalcone. Monfalcone, Italy.
“GABL’S”, curated by Gianluca D’Inca Levis. Palazzo Crepadona. Belluno, Italy.
“Back to school”, project curated by Lorenzo Giusti as part of “Territoria 3”. Prato, Italy.
“Drawings”, AMT gallery. Milan, Italy.
“-30 pratiche pittoriche in Italia”, curated by A. Bruciati. Museum of Modern and Contempory Art of San Marino Republic. San Marino Republic.
“2008 WPA Art Auction and Gala”, Katzen Arts Center. Washington D.C., USA.
“Wooster on 11 spring street”, curated by Marc & Sara Schiller (Wooster Colletcive). New York, USA.
“Pana Picnic”, Perugi Artecontemporanea gallery. Padova, Italiy.
“Quotidiana”, curated by G. Bartorelli, S. Schiavon, Museo Civico al Santo. Padova, Italy.
“Tende a infinito “, curated by S. Coletto, M. Ferraris, Palazzetto Tito – complesso SS. Cosma e Damiano, Fondazione Bevilacqua La Masa. Venice, Italy.
“Traffic Zone 02 Venezia”, curated by Stefano Coletto, Marco Ferraris, Fondazione Bevilacqua La Masa, Venice in collaboration with Galleria Civica di Trento, Centro Polifunzionale dell’Opera di Trento. Trento, Italy.
“Visual Art and Music Project Q13 Garage”, curated by P. Capata, S.Coletto, A. Zanchetta, Centro Candiani. Mestre (VE), Italy.
“Non sono in casa, Mostra Borsisti 86ma collettiva”, curated by G. Comis, Fondazione Bevilacqua La Masa.Venice, Italy.
“86ma Mostra Collettiva”, Fondazione Bevilacqua La Masa. Venice, Italy.
EVENTS AND SPECIAL PROJECTS
“Visual sound”, as part of “Neverending cinema” curated by ZimmerFrei, Galleria Civica di Trento. Trento, Italy.
“CZ95 alla Giudecca” , a cura della Fondazione Bevilacqua La Masa. Venice, Italy.
Teatro Disumano, “Cubista Manichino, dancing in the real virtuality”, Zazie Interconnessioni Metropolitane festival, Teatro Fondamenta Nuove. Venice, Italy.
Live video performances for the electronic music project “ENT”.
Special events include:
“Non sono in casa, Mostra Borsisti 86ma collettiva”, Fondazione Bevilacqua La Masa. Venice, Italy.
“Spectrum festival”. Bologna, Italy.
“Batofar cherche l’Italie festival”, Batofar. Paris, France.
“Peam festival”. Pescara, Italy.
“Computer Art festival”, Teatro Le Maddalene. Padova, Italy.
“Unidentified festival”, Bolognetti Land. Bologna, Italy.
PRIZES AND AWARDS
“CO.CO.CO. Como Contemporary Contest 09”. Como, Italy.
Fondazione Bevilacqua La Masa grant, “86ma Mostra Collettiva” Fondazione Bevilacqua La Masa. Venice, Italy.
Regione Veneto grant, “86ma Mostra Collettiva” Fondazione Bevilacqua La Masa. Venice, Italy.
LMCC Process Space. New York, USA. (August – December)
ISCP. New York, USA. (July – September)
Atelier Fondazione Bevilacqua La Masa. Venice, Italy. (June 2005 – October 2006)
David Ebony, “David Ebony’s Top Ten New York Gallery Shows for June”, Artnet “news.artnet.com”.
Claudio Zecchi, “Davide Zucco at NURTUREart”, Temporary Art Review “temporaryartreview.com”.
Paddy Johnson and Whitney Kimball, “This week’s must-see event: Art about time, and Bushwick open studios”, Art F City “Artfcity.com”.
Monica Matera, “Dolomiti contemporanee”, “Insideart.eu”.
Diego Fadda, “New Mural for Open in Painting”, “Ilgorgo.com”.
Alessandra Benacchio, “Cartoline contemporanee. Roccedimenti. Fatte, non finite, le nature contemporanee”, News-art.it”.
Carlotta Viani, “Tensioni Verticali”, “Artribune.com”.
Michela De Pellegrin, “Due chiacchiere con Davide Zucco”, “Contemporarystandard.com”.
Michela De Pellegrin, “Un Tè con Davide Zucco”, “Enquire.it”.
Exibart onpaper, cover, April-May, n°65.
October, Andrea Bruciati, “Hard Candy una generazione pittorica differente”, “Flash Art” number 272 year XLI. Italy. P. 90-93.
October, Speciale pittura, “Dizionario della giovane pittura italiana”, “Flash Art” number 272 year XLI. Italy. P. 101.
September. Santiago Nicolalde, interview to Davide Zucco “BG Magazine” number 37 “Under Noir Issue”, Equador. P. 51.
July, Vivek Premachandran, interview to Davide Zucco “Cliche” number 7. Dubai.
July, “Belio” number 27. Madrid, Spain. P. 73-84.
June, Speciale Veneto, “Dizionario della giovane arte veneta”. “Flash Art” number 270 year XLI. Italy. P.94.
December, Irene Disco, “Davide Zucco Jasmine Zimmerman”, exhibition review, “Flash Art” number 267 year XLI. Italy. P. 130.
April, Anne Keehn, “Rekal”, “Swindle” number 11. Los Angeles, USA. P. 32.
February, Helga Marsala, “Street and the city” exhibition review, “Exibart on paper” number 37. Italy. P. 44-45