Tetsuo Miyakoshi is an artist that lives in Europe.

Bashful mind but that it appears outlined by an unusual sensibility.

Among his/her tappes of trip Sicily has also chosen.

“Happening” also us among some of his/her works, with active curiosity we have always decided to reach him/it by email proposing him a brief interview.

Tetsuo, Sicily has also bewitched you. As you/he/she has arrived here from us and as he/she sees the make art in this island that (also) from many of the sector you/he/she is confirmed” as beautiful as painful?”

I periodically come in Sicily. I/you/they have arrived in Sicily for curiosity. Alive around in Europe, my situation allows me him. I don’t know the contemporary art in Sicily, however I have understood that perhaps the Sicilians are in difficulty with the things that are happening to the world today. Sin, to me it seems once full of possibility. Months I have casually met ago a Sicilian critic, Mosè Previti, to him I have submitted some jobs to study them and to organize some event. I thank you and him for the possibility to speak of my job, or it would be better perhaps to say of my fun.

We have been able to admire one cycle of his of works in which the delineated form is harmonized with the abstract, the reality to the imagination, the magic to the dream. A return, if we want, to an art yes contemporary but to admire “to the walls” in an epoch in which (you/he/she could tell him “unfortunately.”..) is he/she always thought more that the Contemporary is almost exclusively performance and installation. And’ of accord, does thing think about the respect?

I am not quite convinced of my role of artist. My preceding profession forced me to a very accurate analysis of that that happened around me. For me the art is an experimental project but I doesn’t have particular predilections for a specific type of expression. All the mediums can serve for expressing him. Performance, installation. it doesn’t do a lot of difference. To me it interests the quality and even also the pleasure of the eye and the mind. The expression, is able then not to also meet the pleasure of the public, and then it needs to understand because and if for the artist it is important this comparison. What happens to the contemporary art is of a vastness and of such a complexity that I believe we always find us of forehead to a selection superficial and very little accurate of what the men are producing as art today. It deals with a world that renews him every day as certain cells of the organism.

In his/her jobs they take form, more evidently, trees from the solid stems and full head of hair. you taper or round, to the times shelter of a female figure just delineated. And then fishes, spirits, baboons. All symbolic elements strongly and expression of a vivacious mind. Perhaps also testimony of as, when it speaks of art, gets depressed all the barriers the differences. But you think that he can still live of art. as the tree that constitutes an universal image and archetipica, a powerful symbol that lives and he multiplies, in the space and in the time, in an endless variety of forms. or believes that it is destined to remain what (hope both in origin!) passion or for some (fortunately little)  intellectual exercise?

I don’t love the forecasts. I am able, however, to try to describe tendencies related to the development of some present factors of the reality today. The expression “to live of art” I imagine wants to point out artists they live of their job. I think that this is always possible in artists’ case professionally organized. For all the others romantic there is no possibility to live pursuing dreams not organized in the detail. For which think that we will have two divergent tendencies: a stronger growth always of amatory artists, that don’t live with their art and a narrow group of star of the art sustained deal economic world more and more.

The exercise intellettualistico is a consequence of the incapability of the art to impose visions what time you/they are imposed by other abler agents: technique and economy. Today the artists are in crisis but I don’t know what it will happen. I know that I like to make art. Even if I have discovered him late, very slow in comparison to the current average, I believe that for me is a natural demand.

Despite Italy is a maltreated thick country, the artists or professionals of the art are still different foreigners that decide to invest in this peninsula, also only through personal or collective. Often, however, they are inevitably submitted to circuits of elite. What does he/she think of it? It perhaps is not the case to modernize, beginning from this point of view, the art and to make her/it less elitist and more “collective” on the base of a to make common net? And would she make him/it a project here, even really in Sicily?

I don’t know the specific problems of the Italian contemporary art. In general I don’t see problems for this your country. I see so many opportunities that they don’t succeed in gathering. Don’t interest me to make net, mine it is a set apart job and I prefer that I/you/he/she am such. My project in Sicily is already active and is what you have seen through the digital communication that takes care of my Sicilian collaborator. In this sense my works reenter in a general project of “input output.” These jobs are the last wedge of one study of mine on the psychology, the taste and the dynamics of development with which you/they stir determined forms inside a specific public. Certainly all these images are tied up to my sensibility and my idea of the world but to the moment I would prefer not to discuss of this.

Contacts: miyakoshistudio@gmail.com

Some work of the project of the artist: