In The Studio With Tommaso Fattovich
IN THE STUDIO:
TOMMASO FATTOVICH
In the Studio: A Q+A with Tommaso Fattovich
Meet Tommaso Fattovich, the self-taught painter who’s shaking up the art world with his raw, unfiltered approach. Born in Milan and now based in Boca Raton, Florida, Fattovich has spent his life navigating between two vastly different cultures—an influence that permeates his striking works. Fattovich’s style, which he fittingly dubs “Abstract Punk,” is a visceral rejection of traditional techniques in favor of bold, brut art strategies. His large-scale canvases are built from layers of oils, acrylics, and unconventional tools—think plaster trowels and forks—adding dimension and texture that commands attention.
Available now through Wester Gallery’s online collection, Fattovich’s compositions are more than paintings—they’re experiences. In this exclusive Q+A, we explore the inspirations behind his distinctive process, how he taps into an authentic inner world, and what drives his determination to create art on his own terms. From Milan’s artistic pulse to the vibrant Wynwood Art District in Miami, Fattovich’s journey is as captivating as the work itself.
Discover his series available now at Wester Gallery Online and experience the energy that makes Tommaso Fattovich’s art truly one-of-a-kind.
Welcome! To kick things off, could you tell us a bit about yourself and your artistic journey and what led you to the style you work with today?
Thank you! I’m very excited to be part of your roster of artists and your questions are very interesting. They really do invite conversation and that’s what art is about: communicating, sharing ideas and building bridges. To answer your question: I was born and raised in Italy. My family and I moved to Florida during my teenage years. In Italy we were taught art history since elementary school, however my hands-on artistic journey began in Florida when my brother and I started a metal band and made short films. In fact, my first intention creatively was to make movies and music videos. I discovered painting later in life. I’m 47 years old and started painting in my mid-30s. What led to the style I work with today was a series of experiments without having a defined style in mind but rather enjoying the process of discovering what works visually. For example, examining tension between brush strokes and certain colours; I also like to explore a variety of styles from spray painting on a canvas or purely using oils or combining both - but ultimately, I like to make each piece different from each other. I don’t like to create variations of the same thing.
Your art has a distinct voice that’s both raw and refined, can you describe the moment or piece that you feel really defined your current artistic identity?
I think my artistic identity is embedded in my curiosity and need to experiment – anything from photography to making music or drawing, and editing videos.
In regards, to painting what defined my artistic identity was the ability to connect with an audience using this medium.
Wester is all about the intersection of visual narratives and personal stories. How do personal experiences shape the themes you explore in your work?
Certainly growing up in two different cultures (Europe and U.S.) has had an impact on my visual language appreciating the graffiti side from living in Milano and then exploring the streets of Miami; growing up seeing monuments and churches to then beaches and palm trees; what really shapes the themes in my work is the music I listen to, however the paintings I start with an idea in mind never end up happening. While painting, I am always led to a new idea.
We’re fascinated by the process as much as the product. Could you walk us through your creative process from concept to completion?
My creative process begins by being present in my everyday life and making notes about things that inspire me. From watching movies to discovering new music via the Spotify rabbit hole. There usually is a moment where I like to channel the mood of a certain music album or movie and there’s a vague idea of an image of what I want to paint associated with that mood. I then enjoy preparing my tables in the studio with all of the oils, acrylics and materials I need for my painting sessions. Once I begin painting, I start by using random colours and making a shitty mess - sort of a warm up canvas with nonsense on it. Then I start concentrating on another canvas and try to be more attentive to crafting something good, or something that works. I usually paint 6 or 7 pieces at the same time.
You mentioned you sometimes go down a Spotify rabbit hole, music is a huge of Wester; we like to curate playlists for every exhibition, and it often plays a big part in setting the tone and pace in the studio. What’s on your playlist while you work and how does it influence the mood of your pieces?
I am a huge music fan and constantly make “mixtapes” (music mixes but mainly digitally, not tapes like I used to). I listen to heavy metal or punk, I love bands like Suicidal Tendencies, Ramones, Pantera, Body Count and Deftones but I do love electronica as well – I love when musical artists experiment with sounds, noise and insane beats: Andy Stott, Actress and Daniel Avery are always on shuffle if I am in the mood for that electronic genre.
People often discuss the relationship between artist and space and people love to see inside an artist’s creative space. How does the physical space in which you create affect your output?
I like to paint in isolation and currently I paint in an airplane hangar. The vastness of it and the airplanes parts laying around make it a cool spot, just the rawness of its metallic structure and the mess from tools and oil spills is very inspiring.
We’re always interested in the diverse methods that artist use. Are there any unusual techniques that might play a key role in your works?
Not sure if there is anything unusual I can point out in my technique. I use acrylics, oils and turpentine, a million brushes and sometimes forks (very basic set up). What’s maybe unusual is that I don’t paint every day. I make my painting sessions an event I carefully prepare and approach ritualistically once per month for a week straight. I need to feel pulled into the studio because I miss it, and that urge is what gives me the fire to create.
Inspiration can be found in the most unexpected places. Can you share an unusual source of inspiration that has surprised you with the impact it has had on your work?
I have started reading books about other artists I admire like Cy Twombly, Franz Kline and Donald Judd. Reading the books and obviously looking at the images of these superb works of art is certainly inspiring. I also love scrolling through social media and seeing what other artists do it is a good source of inspiration. The impact on my work from this is that I am reminded to be free and try anything I want. It’s all rooted in experimentation.
Many artists are deeply influenced by their environments. Does your geographical location or cultural background shape your artistic expressions?
I must say that I am still trying to figure out if my geography or my cultural background influences my imagination. Subconsciously probably there’s an influence.
Are there any challenging projects you have undertaken? And what you may have learned from that experience?
Yes – I took on doing a mural and didn’t like the experience – it became almost like a “wall painting job” – it took too long and I didn’t get to experiment.
Do you have a piece with a particularly meaningful backstory or significant value? Could you share its story with us?
The first piece I sold has meaning to me because it helped me build the confidence to keep going and making more paintings.
Art can often challenge or comfort. Do you aim for your work to provoke, soother, perhaps a bit of both? How do you balance these elements? And are they at the forefront when creating?
Great question. The aim is to have fun. Then edit later. Meaning the idea is to get lost first in the painting without any real intention behind it, and then help the painting find its way by editing and fine tuning various sections to make it work as a whole.
Sustainability and art are increasingly intersecting. How do you consider environmental or ethical factors in your practice?
I am not informed on this subject and not sure what it means.
How has social media's transformation of art sharing and rapid image consumption impacted your career, and how do you navigate the commercial pressures of the art market?
Love this question. Social media in the beginning for me created a false sense of urgency to keep creating…”oh so and so made a new work of art, hurry, I need to make one too now!”… I have learned to just reel it in, and just be at ease with where I am. Things have a way to come together for everyone when heart and soul are at peace, and you are happy with your final art work.
Looking forward, where do you see your practice going in the next few years? Are there new mediums, themes or challenges you’re eager to explore?
I can see maybe exploring the possibilities of making Arte Povera style sculptures – massive rocks and metal chains around them and tied together by heavy ropes – that sort of thing.
The art world is coming a bit more collaborative. Is there an artist you would love to collaborate with, and what would you hope to create?
I tried collaborating but doesn’t quite work out. I’m too set in having control over my work from start to finish. It doesn’t make sense to have anther artist make a mark near my marks, etc. I either do the whole thing or I just don’t see the appeal. If anything, I would ruin the other person’s work. And I don’t want to mess up anyone’s beautiful paintings.
Finally, what’s next for you? Any upcoming projects or exhibitions that we should be looking out for?
I am in the process of creating an exhibit with the Coral Springs Museum of Art titled: ”Raw Essence: The Spirit of Arte Povera". This exhibit explores the fundamental principles of Arte Povera through a curated selection of paintings that embody the movement’s ethos. While Arte Povera is often associated with mixed media and installation art, this exhibit highlights how painting can also reflect its themes of materiality, nature, and social commentary. That’s in 2025, Florida. In December 2024, I will be part of Context/ArtMiami during Art Basel week.