Deruta is the place where I was born, a town famous in the world for its significant ceramics production. I believe nothing like this exists in any other parts of the world: there are workshops everywhere in town in every single narrow corner. There are about 200 of them over a population of about 5,000 inhabitants in the heart of the Deruta district.I decided to stop here under the attentive and helpful guidance of my father, a ceramics master and I have tried to learn during my education all the secrets of this art from everybody I have met: secrets and ancient techniques passed on from one generation to the other with the a thousand-year art passion.
In the ’90s I decided to go deep into all of the techniques in the different cycles of the Deruta ceramics without leaving out any of them. As a consequence I went back to the most ancient processes of the ceramics tradition and came back to nowadays.
This journey has carried me away from the idea of ceramics as a minor art. It also allowed me to turn from a young applicant artisan to a technique researcher and an artist.
The most important change that has accelerated my passion and devotion to art happened in 1998 when I was attending my third year in Art School. I received a scholarship and they sent me to the Royal Art Academy of Den Haag (Holland).
During the first months I immersed myself in all sorts of experiences: conceptual, abstract, informal, minimalist arts which meant to me some sort of torment that gave birth to thoughts that during these years have come to maturity. These ideas brought me to the belief that what the traditional world had taught me could be translated into an innovative and contemporary interpretation.
Tradition and Experimentation, two key issues in the world of ceramics, impossible is the existence of one without the other.
While the first is the acquisition of a knowledge handed down often in a passive or unconscious way for thousands of years till now, the second is research, expression and studies towards unexplored ways.
The learning of traditional techniques and of theoretical and practical knowledge is important to invent and test new works, away from the simple definition of ceramics as applied art.
The experimentation is a language not easily comprehensible for the new way to express that creativity which is found in the mind and the hands of the artist.
A creativity that is beyond a rational control ordered by a daily scanned by futile material needs, far from the instinctive thirst for FREE EXPRESSIONS.
Ceramics is a privilege of the few
Since childhood, I have always dreamed and imagined in shapes, colors and dimensional space. My life has been, and continues to be, an ongoing study of two worlds that look at and embrace each other through the research of new materials: from the imagination to the interpretation of visions in both reality and fantasy. Everything that surrounds me is a unique element to test, fix or change.
My research is created out of a fictitious setting, in the near future, where the majority of elements has been known for millennia, but has not yet been sufficiently combined. Each simple element is transformed into a more complex element, through the study of free combinations, brainstorming and bold impertinent risk-taking.
I should note that my research is not confined to one area, but follows more than one direction at the same time in contexts often non-complementary. The more one is immersed in the world of ceramics and its intensive techniques, the more one can perceive when innovation is being produced, and it becomes very clear that a new ideal is being achieved. Innovation does not mean relying on the usual technology, but also taking a different look at the various processes and overturning and distorting the rules, and a result, discovering new limits and creating new strengths.
Over time, I was able to not only follow and explore my visions and fantasies, but also realize them.
In combination with other disciplines, such as fashion design, industrial design, sound design, architecture, etc., I am always creating new experiences and fulfilling my education, which at the moment is far from complete.
Creating for me means “research” of new techniques and solutions. I never create a form or shape first and then apply the technique. I always create the technique first and then the form.
佩鲁贾美院设计大师播撒艺术火种，桃李成蹊绽放璀璨光辉 泓钰学校 – Hongyu School 2018-05-10 在泓钰，邂逅才华横溢的意大利艺术大师，总有一见倾心，相见恨晚之感，用来形容近日在华执教的佩鲁贾美院设计专业教授Nicola Boccini一点也不为过。在众多来华交流的意大利教授中，Nicola Boccini教授以其帅气俊朗的外形、儒雅出众的气质、幽默独到的艺术见解，给泓钰全国各地的艺术学子们都留下了深刻印象。 这位令广大艺术学子心仪的佩鲁贾美院教授，曾在意大利罗马罗德岛设计学院、米兰理工大学设计学院、巴西圣保罗长老会大学执教，擅长从伊特鲁里亚时期至现代的瓷器修复技术，其作品在世界各地参展，并广被收藏。 与上周末不同，5月9日的大师课是指导装饰专业的同学们设计香水瓶的构图，然后由泓钰师生参与投票评选，最后再由教授做点评指导。生动的教学内容与师生互动环节，极大激发了同学们的创作热情，投票现场热闹非凡。 泓钰师生参与投票评选 教授评选 通过投票数据，Nicola Boccini教授分析指出，亚洲人的审美和欧洲人的审美不同，所以，在某一件产品从设计到生产的过程中需要经过用户市场调研，挑选出最受欢迎的几种款式，定期更新投放生产。教授的倾心指导深得学生们的信任和好评，师生用意大利语互动交流顺畅，极大增进了师生感情。 他首次来华执教交流，历时三周，在泓钰绽放璀璨艺术光芒，继梧州、上海、重庆、成都、南昌、沈阳、青岛、包头等地的巡回指导后，5月9日，他在泓钰北京总校的大师课也圆满结束。临近下课，同学们纷纷围绕在教授身边，依依惜别。 校园里充满欢声笑语 佩鲁贾美院大师各分校场景 南昌校区活动现场 广西梧州交流活动场景 成都校区选拔活动场景 包头校区教学活动场景
ICAA “International Ceramic Art Award”
(Blanc de Chine)
(article in Chinese language)
获第二届”中国白”国际陶瓷艺术大奖赛三等奖 尼克的家乡在意大利的德鲁塔，这里以传承了百年的传统陶瓷工艺马约里卡 ＊ 而闻名于世。 马约里卡工艺制作的盘子。 ＊ 马约里卡是意大利锡釉陶的统称。 马约里卡的特点是在钙质黏土陶胎上，涂以白色锡釉，再用五彩缤纷的色彩描绘花纹。纹饰包括故事、植物、动物或风格奇异的阿拉伯式图案、纹章图案等（资料来自：百度百科） …