HOW TO FORGET ABOUT A SONG
SERVADIO – How To Forget About a Song
Screenprint / Serigrafia, 1 layer
63 x 50 cm, 2021
Old Mill paper 300 g.
Limited edition of 15
Printed by 56Fili
Michele Servadio was born in Italy in 1986. He grew up in a small village in the Veneto countryside. Drawn to painting and drawing from an early age, Servadio attended the Art School in Padua and the University of Visual Arts in Venice. In 2007 he approached the world of tattoos, fascinated by its tradition and cultural phenomenon. He moved to London in 2010.
In his atelier in Hackney Wick, Servadio creates new projects which interconnect the different practices of tattooing, painting, printmaking, photography, and performance art. Merging these diciplines, feeding them back into one another, he creates a unique universe where he is able to explore and describe the human condition and his environment.
The aesthetics of his work is dark and melancholic; it embodies Folklore, expressionism, and the bleakness of a post-industrial scenario.
In 2014 he started to experiment with sound and tattooing. This gave birth to 'Body of Reverbs', a contemporary Ritual combining sound, pain, accupuncture and permanent marks on the body. Body of Reverbs has been presented in the form of live performances and instilations across the UK, Europe, Asia and America.
His artworks have been exhibited in England, Italy, and Germany.
Signed and numbered by the artist.
“People come and go. Tattoos exist in their personal state of eternity.
This book is a collection of photographs I have taken in my studio in London. It is the place where I paint and print. A temple of creation and intimate space.
I felt the need to highlight the connection between the people I tattoo and the place where I create.
It is an effort to transcend tattooing by celebrating the tenderness of a body that has just changed.
I use photography by need. Tattoos are ephemeral; they demand to be documented.
Tattooing is not just adding ink under the skin: it changes a human being and therefore modifies the environment around it.
By portraying people in my studio, in front of my paintings, and making them interact with sculptures and objects, I try to comprise the practice of tattooing into the bigger picture of art creation. By stepping back with the camera, the studio becomes the stage where these people exist. I can see relationships between them and the environment. Artworks become props for portraits and people become the life characters of my paintings.
I can keep track of a tattoo within the context of the body where it lives and of the environment where the person exists.
Everything merges.” Servadio
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