Sartori Braido, was born (1989), alongside the emergence of the first personal computers. Now, he finds himself in a world dominated by virtuality. These two compelling influences have consistently molded his life and artistic exploration. His paintings act as a focal point, shedding light on the imperfections inherent in digital simulation. In an intriguing parallel, they also ‘celebrate’ its aesthetics, a connection he cannot escape. He views digital errors not as hindrances, but as valuable assets that propel his creative odyssey forward.
My work features mysterious figures of artificial and inhuman appearance. They are placed in cold locations deprived of their own atmosphere and there are obvious references to computer graphics. The subjects are inspired by a wide variety of sources: old photographs, scholastic encyclopedias, magazines as well as movies, television, and video games. These are fragments of forgotten images that derive from different contexts and different times, exhumed from the oblivion and elaborated by the memory of a computer unable to grasp their real nature.– Sartori Braido
Since my early career, I have focused on the aesthetics produced by the processing of the machine and by the failure, proper of the digital medium, to reproduce with absolute fidelity the real world, that is, the world as perceived by the human being. In this historical period, where the human seeing and feeling are increasingly filtered by the machine, and the boundary line between reality and virtuality becomes therefore ever thinner, my work highlights the imperfection of the digital, “celebrating”, however, its aesthetics to which I, born with the first personal computers, am necessarily bond. Thus, the limit of the error is for me a resource rather than an obstacle. Intriguing in its enigmatic nature, it obliges me to look at the world and the virtuality inherent in painting itself with lively and curious eyes.– Sartori Braido
Alright Sartori, so how long have you been painting?
I’ve been painting for as long as I can remember, but it’s been around 15 years now, since 2009, that I’ve truly delved into my artistic research. It was during that period that references to graphics and to the digital world began to play a central role in my work.
The very essence of what is now acknowledged as the “post-digital aesthetic” was already present in my paintings at that time, frequently leaving observers both intrigued and puzzled.
At the very beginning I focused on the opposition between organic and artificial. What characterizes the works of that period is the obsessive repetition of identical images on the surface of the canvas. I was inspired by the idea that nothing in nature is ever identical to something else, and in my paintings I played with the visual shock that comes from the computer-based “copy-paste”, creating an aesthetic that does not exist in nature but is typical of the virtual world.
Over the years, my research has expanded, and my latest series of paintings (“Data Paintings”) focuses on blurred figures and pixels, that are interpreted as primitive modules that approximate reality.
Can you walk me through your creative process. From beginning, to end result?
When a new project is about to come to life, the process it undergoes until its completion is almost always the same. It all starts with that spark of inspiration – the energy that ignites the process. Without it, nothing takes form. Then comes the art of designing, that involves giving a rough graphical shape and dimensions to the image conceived into the mind before.
Soon follows the phase of exploration, a treasure hunt for the reference materials that will lay the foundation for the final masterpiece.
With the groundwork laid, the physical construction of the canvas begins – framing, stretching the canvas over the frame, and priming – a process that charges me with the excitement of the upcoming project. The energy of inspiration flows through, ensuring meticulous execution and unwavering attention to the tiniest nuances.
But the magic truly happens when the relationship between the artist and the creation evolves. At first, the artist guides the image, shaping it to their vision. Yet, in a beautiful twist, the image itself takes on a voice, leading the artist toward the final destination. If the artist has the sensibility to understand when to be guided by the image, the completion of the painting will be achieved smoothly and pleasantly.
The medium I use is always acrylic paint. This last is the most congenial to the physical final result. Yet my work can be described as an “anti-pictorial” painting, that takes shape from the mix of diverse and detailed techniques that make the final product irreplaceable.
What is your relationship with digital art / technology?
Technology is certainly a powerful ally in my case. I personally believe that true Art is always a product of its time, and as centuries pass, Art reveals its essence, which is the “condensation” of the spirit of a specific era.
It’s becoming increasingly clear that in our current age, technology is a defining element for all of us. Foresighted artists are realising how this “reality” serves as a gateway to new and intriguing forms of expression.
Regarding digital art, I think that now more than ever, it’s exciting to experiment with it. Digital art is also incredibly convenient in the creative process. It’s inexpensive and allows you to bring your ideas to life in a remarkably short span of time.
However, this convenience also brings to life an immense amount of content, not always captivating, that contributes to contamination and confusion within the current art scene and market.
Personally, I make extensive use of synthesizer and computers to create my animations, which expands my research and brings me immense enjoyment!
Little spoiler: we’re about to launch our first NFTs! 🙂
I’m curious… How do you like to spend your time when you’re not painting?
Generally, the time when I’m not painting is still dedicated to research and creation.
I oversee the content production for Sartori Braido Studio, which is the official Instagram page showcasing my work. Together with my partner, it’s always a fruitful time to strategize, grow, and spread our vision. Cinema is also my great passion! I watch numerous films and vintage documentaries, I listen to a lot of music, from jazz to electronic music, and I engage in personal studies across various fields. I really enjoy delving into the things I discover, as I believe the world is full of intriguing stimuli. Alongside my partner, I’m also an art collector!
Alright Sartori. Since you love cinema, this question is perfect for you 🙂 What’s your favorite movie(s) and why?
The films of great importance for me are:
Le voyage dans la lune (1902)
Nosferatu, eine Symphonie des Grauens (1922)
Safety Last (1923)
Mystery of the Wax Museum (1933)
King Kong (1933)
Citizen Kane (1941)
Invaders from Mars (1953)
Les Aventures de Robinson Crusoé (1954)
The Giant Behemoth (1959)
Black Sabbath (1963)
The Girl Who Knew Too Much (1963)
The Good, the Bad and the Ugly (1966)
Rosemary’s Baby (1968)
Night of the Living Dead (1968)
Scream Baby Scream (1969)
The Bird with the Crystal Plumage (1970)
A Lizard in a Woman’s Skin (1971)
A Clockwork Orange (1971)
Don’t Torture A Duckling (1972)
The Godfather (1972)
The Exorcist (1973)
The Texas Chainsaw Massacre (1974)
Rabid Dogs (1974)
Harry and Tonto (1974)
Nosferatu the Vampire (1979)
The Evil Dead (1981)
Halloween III: Season of the Witch (1982)
The Thing (1982)
The Toxic Avenger (1984)
Class Of Nuke ‘Em High (1986)
Evil Clutch (1988)
Lost in Translation (2003)
Il Divo (2008)
The Wolf of Wall Street (2013)
The Hateful Eight (2015)
Some are recognized as masterpieces, while others may not be, but I consider them great artworks due to their experimental quality.
Damn, that’s quite the list. But I Digg it! What song(s) are you currently listening to the most right now?
As for music, similar to seasonal clothing and food, the music I listen to follows a cyclical pattern. I’m about to “archive” Afro-funk, Slim Whitman, and Hailu Mergia, to fully immerse myself in “The Night of the Purple Moon” by Sun Ra, the enchanting sounds of Adrian von Ziegler, and the jazz of the great Bill Evans.