Spotlight

‘I FEEL BLESSED TO HAVE THE LIBERTY TO PRODUCE WHAT I FEEL INSIDE’

REVIEW: ‘Magnificent Cultures’ – Luigi Ballarin’s solo debut in Qatar

Luigi Ballarin not only engages realism and abstraction in a conversation, but he makes peace with themes, subjects and colours that are mostly found in utterly contrasting spaces

By Gabriella B. / Photos by Jayan Orma

Luigi Ballarin is a contemporary visual artist who explores and works with Islamic Philosophy, Islamic Aesthetics, Ottoman Heritage and Sociology. He has had few interna tional solo shows and his works have p reviously been exhibited in a number of art galleries in London, Rome, Venice, Istanbul, and now in Qatar. Having his pieces being a private collections, Luigi Ballarin produces high volume of work, which showcases experimental contem porary art produced in Islamic artistic f ashion, fostering cultural understanding and social dialogue between ancient and current, East and West, crescent and sun. Luigi Ballarin not only engages realism and abstraction in a conversation, but he makes peace with themes, subjects and colours that are mostly found in utterly contrasting spaces.

Luigi was destined to become a peacemaker of contrasting concepts. Graduated in linguistics, he had managed to build a successful career in tourism, which however, wasn’t meant to last for life. Born and raised in scenic Venice, from an early age he felt in love with art, while he was exposed to a vast ethnic diversity pouring in crowds of thousands into his home city, annually. As a result of a magical gift from a relative, Luigi took his first imaginary voyage far away from the Venetian Renaissance palaces. It was a pivotal moment in his life. For Anatolia, Asia Minor and Northern Africa, called his heart, at once. His stimulated imagination engaged in envisioning those lands, and led him to the mastering of a new, highly expressive, and universal communication craft – artistry. Of his remarkable evolutionary growth, ‘Magnificent Cultures’ artworks speak, each with its own special “timber”.

Luigi Ballarin, artist, (left) with Beste Gursu, curator.

Excerpts: Q Hello, Luigi and welcome to Society Magazine. Surprising enough is to witness a Venetian artist producing intricately detailed Islamic art, not to mention that you are, in fact, a self-taught artist with almost a fairy-tale personal story that got you into this “messy” labour. A handful of golden sand from the dessert, given to you by a cousin, unleashed your creative energy and affection for the Islamic art in a way that has determined your future life and work. Please tell us a little bit more about young Luigi’s dreams. Did he come from a family with long-standing relationship with art? And when did his introductory encounter with Islam and the Islamic world take place?

A First of all, I would like to thank you and Society Magazine for the interest in my work. and explore the Middle East and North Africa. Drawing was a hobby during my childhood, and so was my love for the Islamic world conceived around my infancy. Both were simply destined to get hand-in-hand as a result of a not-sosimple spiritual journey.

looked back. For twenty years, I have built a platform that allows me to be creatively active, to paint and travel full-time.

My first memories of interaction with the outside world are from England, where my parents would send me to spend the summer holidays. During those, I had have the opportunity to meet Muslim people - it was around the time when many Lebanese people flee their country due to the war. On account of those, I grew ever more fascinated with this fantasy land, and so in my adolescent, I began to grab any opportunity to travel

Q Today, you are privileged to reside and produce art between few of the most iconic cities in the world, and raging European art centres, Venice, Rome and Istanbul, yet the artist within you finds the Middle East being that “somewhere else” whereupon springs up inspiration, fascination and perhaps a comforting feeling of souldom. Was becoming a migratory artist associated with Islamic art a decision that took a lot of consideration?

Luigi Ballarin, artist, (left) with Beste Gursu, curator. A No, not at all. I have always felt deeply connected to these lands. Till this day, after numerous visits to the Middle East, I would still feel as thrilled as I had been on my very first trip, and simultaneously with that sense of assurance, one would feel only upon returning home. The colour, tranquillity, sense, touch and smell all bring me an experience of being alive. With the deep sense of connection, “Finally!” I would exclaim to myself, whenever I return to the Middle East. The places I have stayed in for a period of time have all become home to me, and an integral part of my visual thinking, either psychologically or physically. I develop attachment easily. It happened with Istanbul. I stood before its majestic landscapes and knew instantly, I would soon return. It’s happening with Doha as well; it’s already calling me back. Subsequently, my artistry evolves heavily around the enrolment towards apprehending the unique nature of these lands, their culture and inhabitants.

I am a self-made artist. I was taken on a very different career path due to my linguistic studies. I guess, though, I always had a passion for a form of common language that allows to befriend the stranger, transform the unknown or less known into comfort, or even, for that matter to make home outside home, as reflected by both my life and work today. I left the tourism industry about twenty years ago, when I felt ready to devote myself to what I enjoy most, and I never

‘Domes’-mixed technic on canvas.

‘Lightening & Strom’

Q Your muses need no introduction, for your artistic production, not only being a reflection of your inner emotions, but also a revival of a sophisticated and excellently executed hand-painted replica of the greatest glories of the golden age of the Islamic art, speaks profoundly of your abilities, and sense of belonging, which, indeed, only an “outsider” to Islam would have been able to create with similar attention, appreciation in such a grandeur fashion. Also, with a rich cultural substratum and an evident presence of talent it could be easily presumed that generating an art with a far-reaching effect has been a breezy venture to you, but it is not, when we talk religious sphere so complex, philosophical, and advanced such as Islam. What did the collection of this incredible knowledge base about Islamic art, and building the confidence of your artistic manner, demonstrated in ‘Magnificent Cultures’ - ultimate in colour and powerful in narrative, take?

A My beginnings into art were very different to what you witness today, a lot less preoccupied with landscapes. The art I produced then was somewhat tribal,

spontaneous. It took many years of hardwork, commitment and research to create the kind of dialogue I have today with my spectators. I have closely studied Islam, though, access to books was very limited back then. My interest, of course, matured during my travels. I would truly treasure every piece of literature, and optimize every trip to the Middle East in grasping information and developing my painterly vocabulary.

My appreciation to Islam is also deeply rooted in me, so embracing the challenges and focusing on the joy and selfsatisfaction during this journey has been accomplished with ease. I can be seen in the mosque, as well as in the church. The feeling that strikes inside me is more or less the same. It is a wonderful connection that I feel.

To me, Islam is the religion, which had has the credentials, the principles and moral pillars to somehow protect and preserve traditions, values, and move with people ahead of times. In today’s world where everything seem to be falling apart if not forever lost, Islamic countries are not only

standing strong, but experiencing growth, progress, and flourishment. Excellent example is their architecture, art and culture, behaviours, hospitality, and the attire of the local people.

Continuing to evolve is the prime force behind my dynamic creative energy. It’s all about what new and more I can bring to the table through self-development. As ‘Magnificent Cultures’, consisting of carpets, tiles, ceramics, the holy Mecca, horses and more, showcases that being versatile and multi-disciplined is a must in the current contemporary world. To me it is essential to continue evolving through experimentation and risk-taking.

Q An eminent curator and passionate artisan, Beste Gürsu has opted for a gallery, which has the indispensable credentials to enhance and emphasise the magnificence of these opulent artworks, conceptually interconnected by a central idea, and yet grouped into several distinct subsections, each introducing an individual set of objects, ornaments, colours and symbolism. Around the Islamic pointed star geometrical configurations, iconographic symbols brought from historical contexts and Ottoman ornaments, the natural sunlight blazing in through the glass ceiling of Building 18 wraps a hue of mysticism, adding an extra value to the viewers’ experience. Speaking of your excessively intriguing technique, it could be suggested that the multiple layers of bold colours make the Islamic motifs vividly pop out, permitting the creation of glazes, which in turn, adds to the surface an authentic sense of ceramic.

Please tell us more about your bravery in mixing patterns, contrasting nuances and concepts.

A Colours vary according to my emotional state. I tend to use darker colours when going through a difficult period in my life. But what really matters is the emotion that gets transmitted onto the viewer. Coming from an honest place, always creates emotionally powerful paintings, which remain greatly appreciated in the course of time.

I have experienced this around the period when my mother was very unwell, I produced a work featuring small human figures made out of painted dots. It was subconsciously charged with emotion that drove response in almost every viewer. Emotions are pure. Aesthetics are not my priority, I would be greatly rewarded if the viewer sees my soul in my artworks. Every work has a sentimental attachment to me.

Every piece of art belongs to a different phase of my spiritual journey. A memory of each’s production stays with you forever. ‘Domes’, for instance are inspired by the panoramic Istanbul’s skyline that takes my breath away every time I cross the Galata bridge on my way from the airport. Particularly pleased I am with the way ‘Colourful Garden’ happened to be displayed here in Katara. The spacious venue allowed me to create a whole marvellous wall of tiles, which I am very happy about. Ottoman tiles give me a great deal of energy. I cannot compare them with anything, we have in Europe. Moreover the vivacious nuances that are widely associated with Ottoman tiles identify the spirit of the Arabs. I know them as highly-spirited, balanced and happy people.

Q Alexander the Great’s legendary horse Bucephalus or Marengo, the famous Arabian horse, with whom Napoleon won the illustrious battle of Austerlitz in 1805, strictly my eyes witness, galloping across the central wall at the gallery Building 18. They all are depicted in action, hardly at rest, and mostly covered in the manyfaced aesthetic pleasures that Islamic art has to offer. The choice of horse, as an art subject could have potentially raised some iconophobic concerns in the Islamic world, however you have successfully dealt with the matter by executing your artworks in a manner that demonstrates in-depth apprehension, mindfulness and tolerance towards Islam and Islamic values. Your in-depth study of Islamic art is reflected by your strong artistic ethics. The recognizable shape of the animals is filled up with ornamented patches of texture, which create rather a fantastic image of a horse. It all, above a colourful frieze located on the bottom of the canvas – another strategic element inspired by the traditions of Ottoman ceramic art and tiles – wild horses dressed in opulent chadors pose gloriously for the spectators, gets me wonder what brought the horses on?

A Horses are novelty in my work. They were created specifically for ‘Magnificent Cultures’ in honour to Qatar, and the immense pride the country takes in this animal. Arabian horses have been highly regarded across the whole of Eurasia throughout the history, found in service to the commoner and in friendship with nobles and monarchs, hence I felt like a special tribute to them and their role in the local culture is due to be paid. By the selection of this subject, and connecting its long-standing history in the classic artworks - horses were featured on the friezes of ancient Greece, adorn the walls of Egypt’s pharaohs, and the cave paintings of prehistoric man in Europe all the way to the Middle ages and the climax of the equestrian art, for their physical strength, loyalty and grace - I also feel enabled to most accurately portray my impressions of the unique grace, and ever-growing importance of the capital Doha, and Qatar as a country on the contemporary world map.

Q Symbolically powerful is the attentioncatcher ‘Continuation’, the artwork, I felt instant connection with. A successful metaphor of infinity, metamorphosis and a constant evolution, historically speaking, this artwork strikes chiefly with its illusory motion effect and colour palette. While you attempt to showcase a reflection of your personal impressions of the holy city of Mecca, I am being transported to pre 10th - century Istanbul, or Constantinople at the time, the capital of the Eastern Roman empire. My notice chomps on its resemblance with Byzantium mosaic. Centrally-applied maroon, white and golden colours merges into shades of blue, so subsequently not only the title regains gravity, but the notion of “bridging art”, which your artistry is frequently referred to. Do you hope for the viewer to apprehend your ideas or personal interpretation is what you encourage them to undertake? And how much do you focus on painting commercially successful subjects?

A It is not my preference to explain my work. I would like to think that my artworks are the protagonist, not me, and so remaining behind the scenes is what I would do by choice. Due to the semi 3-dimensional appearance of my artworks, people often feel tempted to have a touch. Unlike many fellow artists, I enjoy that. It can only make me happy that people initiate a physical connection with my work. We all know that nice things are to be touched. Artworks can be repaired and fixed, I rather have visitors experiencing my work freely, emotionally and fully.

I feel blessed for having the liberty to produce what I feel inside. I wouldn’t say that I feel commercial pressure. Of course, producing art is costly, however there are many ways in which one can be smart about the not-so-pleasant logistics. As long as one remains within their reach in relation to format, one doesn’t have to compromise with their subjects. I choose to be smart about the scale of my exhibitions, and the size of my canvases, rather than having to obey any kind of commercial doctrines intended to advocate my creative process. Don’t be excessively ambitious, bite less to progress in your own terms.

Q What does the future hold for you, and how do you best prepare for it?

A My art work is preoccupied with selfexpression, therefore it is very important for me and the quality of my work to take occasional breaks. Preparatory process for an exhibition, including the research, collection and experimentation, can be a very exhausting process. It seems all very busy up until June for me, however.

Foremost, I am working on a double exhibition in Venice. Followed by a joined presentation of my work and a book release in Jordan during the week of the Italian language, in October, which I am very much looking forward to. And a second exhibition in Doha, Inshallah!

Gabriella B.is a British journalist in Qatar. She has a great passion for charity and for fun she likes to read printed history books.