1. Tell us a bit about yourself…. How did you become an artist and what inspires you to create?

I started to make collages in my late teen years, rather a necessity more than a choice. Everything inspires me; I guess the urge to create is just a consequence of needing to express feelings, ideas or concepts that cannot be expressed otherwise. 

2. Did you study art or are you self taught? What are your thoughts on art education and do you think that art is a subject that can be taught within a classroom? 

When I started to make collages I didn’t know much about art or collage art in particular. I studied graphic design many years later and I don’t think that that informed much on what I did after the degree. I guess I learned about some artists and theory. 

I wouldn’t know what to say about art education. In any case, I do believe it is helpful to know what had been done and what is going on in the art world, so maybe some art education can be useful. 

3. What is the most challenging or surprising aspect of being an artist and is there anything you don’t like about it?

I guess what is surprising is people’s reactions to my work; giving different perspectives and interpretations that I didn’t think of at all.  

So far there isn’t anything I don’t like; I do it because I want to. 

4. Collage art is extremely fascinating due the fact that such work is able to bring together bizarre and seemingly random imagery. At what point did you realise that collage was the best artistic medium for you and do you think that it has any advantages over other mediums such as painting or sculpture?

I first started to draw, but very soon left it due to my lack of painting/drawing skills. Then I found that by using ‘stolen’ images I could create my very own pieces, then I became a ‘thief’. I found that fascinating; to take several unconnected images, mixed them and taking them out of their context, creating a juxtaposition which creates new out of the old, creating new scenarios which trigger questions in the viewer. 

I may throw stones to my own roof here, but I believe the art of collaging to be a minor art, mainly because the collage maker ‘steal’ images generated by someone else and that already existed. Still, needless to say, I feel a passion for the collage art. I guess part of this passion comes from the fact that collage was (and still is) a very important part in the DIY scene, i.e. the mail art of the 80s connected to experimental music; with a sense of freedom that I believe other mediums lack. 

5. Creating collages can be a very long and potentially arduous process especially when you create them by hand, as you do. 

What is the benefit of creating analog imagery as opposed to creating collages with a computer? Does using a computer to create art effect the way its viewed?

I wouldn’t know what the benefits of analog over digital are. I don’t really like collages made in a computer, but that is just me. I like the restriction of having to work with what you have. I also feel attraction for textures and handmade feeling of things. 

I love the ‘craft’ of collage making. I am a hoarder so coming across old books, magazines, leaflets or objects in markets, charity shops or any other place is what I enjoy.     It may sound strange but I don’t think I ‘create’ the collages I make. I believe they already exist; I have just come across the images and stick them together. They are pieces of an unknown but already existing puzzle. I love the process of going through thousands of images and feel like the images are telling me where they should go. I see myself as a ‘funnel’ or ‘filter’. 

Additionally, where do you source your images from, and before creating a collage, do you start off with an initial idea or concept, or do you work in a more spontaneous way?

As said before I am a hoarder; I have hundreds of magazines and books ready to be ‘filtered’, I also have many boxes where I kept all the cropped images. I am constantly ‘filtering’ or ‘funneling’ images. 

 I work both ways: I do work with long conceptual projects and also work with more spontaneous projects. I tend to have about 20 works ‘half cooked’ waiting in a pile; I keep coming up with new ones and revisiting old ones until I feel they are ready. 

Furthermore, what is your creative process like? How long does it take you to create an image and whilst you’re creating, when or how do you know when an image is complete? Do you ever worry about the repetition of ideas and imagery as you create more work?

I believe I have already answered this question tangentially in the previous ones. The process changes according to the project and idea, however my main way of making collages is the ‘filtering’ or ‘funneling’ process: I go through a lot of images until some of them stay behind forming an all new composition. I love the idea of constantly coming across random images until one intrigue me. 

Some projects takes me a day others takes me months, nevertheless many projects are kept aside for months or even years until I think they are ready. I wouldn’t know how to explain when they are ready. I guess there is a moment when something just ‘clicks’. 

6. As an artist whose work deals with symbology and juxtaposition, how do you make sure that your images have enough context so that people understand what they are looking at, but ambiguous enough to grab their attention and allow them to attach their own meanings to your work?

I don’t expect people to understand or to have enough context. I don’t think they need to. That’s something which is great about collages; they have many layers. 

Some of the pieces I do are concept based or deals with personal feelings or symbols. Other pieces are more visually or superficially driven, more cheek in tongue if you like. In any case, independently of whether it is a complex or a simple piece, I like collages that shout questions; ambiguity helps to trigger emotions and interpretations in the viewer, many of which I didn’t even think of. 

7. In the age of social media, where everyone is constantly creating and uploading, do you think that the way people interact and think about art has changed? Are people too caught up with the likes and views attached to images, as opposed to the deeper message the images convey?

Probably yes, I wouldn’t know though. I have been making collages since late 90s and just since last year I started to share my work through creating a website, participating in exhibitions and opening an Instagram account. I don’t think I’m very active on Instagram; I post something every one or two weeks. I think it’s a very useful tool to make connections and to find out information about other artists and exhibitions, but I also see how it can become a trap. 

Additionally, what are your opinions about social media and how has it affected your practice? Is social media helpful to the creative process?

I just have an Instagram account; I don’t use it for social purposes but just for art related issues. It has given me the chance to be in contact with artists and to be aware of the ‘collage art world’ out there. 

I don’t think social media helps my creative process per se; I guess it influences it in some degree, as with anything else you come across in life. 

8. During my research of you and your art, I came across the fact that before you created collages, you used to paint, and that you state that you create collages ‘out of necessity as opposed to a choice”. Can you talk a bit about this statement and what painting has taught you about creating art? 

At an early age I tried to draw/paint, I had no clue or skills so stopped and I guess it led me to collages. I see creating collages as a necessity rather than a choice because over the years it has worked as a sort of therapy; allowing me to express myself. I feel the necessity of always having to work in creating.

9. Do you think that an artist’s work should be constantly evolving or should they create work that sells? Does being paid to create change an artist’s approach to their work?

I think that an artist’s work should evolve if the artist wants to. I think it is difficult for me to answer appropriately. I used to do paper collages mixed with found objects, then I stopped and focused in just paper collages, then I have current projects where I want to use objects again. I guess what I’m trying to say is that for me it works in cycles rather than lineal. 

I don’t think I am in a position to have an informed opinion regarding to whether being paid influences my work. Until recently I used to give my collages away, it is just since last year that I started to sell them. It is still early days to say, but I can say that I still do what I want; I guess now I am more aware of some of my work being more approachable and other being darker or more complex. 

10. You often exhibit your work in various galleries. Can you talk a bit about how you started exhibiting your work and what the process of having a gallery show is like? What are the benefits of seeing work in a gallery as opposed to online, and should people make more of an effort to go to galleries?

I wouldn’t say too often really, they all have been group exhibitions. I think the first one was for a fund auction’s charity organization. In my opinion there is a huge difference between seeing works in a gallery or online. Going to a gallery allows you to spend more time in front of a piece thus enriching the experience and appreciating the details. Going to a gallery is a three dimensional experience, there is something about being presnt. On online, often it’s just few seconds of exposure before you move to the next thing. I don’t stop surprising myself when I visit a gallery and realized how much better a given piece of art looks in person.

11. It’s no secret that creating the work is actually a very small part of being an artist. There are so many different hats you have to wear and one of the under-discussed elements of being a creative is marketing your work. 

What percentage of time do you spend marketing your art and what percentage of time do you spend creating work? 

I do spend some time applying to open calls when I see that could be interesting to be part of but most of the time I am actually very busy (and really behind!) creating work. For me the final product (the collage) is just a tiny part of the whole process. The bulk of the work is in the thinking, researching, cutting, try and error, selecting, filtering, ‘funneling’. 

I don’t update my website as much as I should, mainly because I find it tedious. Also, it is easier to upload stuff from time to time on my Instagram account. 

Additionally, do you market your work outside of the internet, and if so, how? Do artist rely too heavily on the internet to market their work?

I would say that generally speaking it tends to done more on the Internet nowadays. But I also have work for sale in a gallery in Brighton (Conclave Gallery). Thanks to Internet I have been able to reach to people and places that otherwise would have been impossible. I am not a social animal per se, so Internet is just fine to make contacts, and if required, i.e. exhibitions, then meeting in person with curators and artists is always very interesting. 

12. In this contemporary society, is art important and why do you think people enjoy viewing it? What is the purpose of art?

Humans have always been drawn to transcendence, precisely because of our limitation in time on earth, art helps to fulfil, in various degrees, that need. 

We are a ‘sack of emotions’ so we naturally want and enjoy being exposed to objects or experiences that gives us a feeling of awe, or frightening that evokes emotions on us.  As human beings I believe we always look for something that may click a cord in our internal world… this may be a feeling of any sort. So yes, in my opinion art is important. 

13. As an artist who creates art that is very physical, how important is it for you to show the process of work? Do you ever show people your ‘failed’ images and how often do you review the work you’ve created?

As mentioned earlier on, the final collage is just a small part of the process. I don’t feel the need to show my process of work. 

I do have failed works, however I tend not to finish (sticking) them when it doesn’t ‘click’ for me. Also, I leave them to rest for some time before I decide they are finished. 

I don’t think I review much work that is already done. I do spend time reexamining work that is started but not finished. 

14. A question from photographer Daniel Castonguay:

Are you inclined to belong to an artist’s clique to feel accomplished or rather work alone to avoid the influence of others by doing what you want?

I love to work alone, especially at night (although I use any spare time during the day) with my music and my lamp. I don’t think I would know how to work with others, but I could try it if the occasion presents, I am definitely not closed to collaborations. 

I guess, to some degree, I am part of the world collage collective. We all are influenced by everything we have experienced and seen. 

15. What was the last image/piece of media that captivated you and what was it about it that left an impression on you?

I recently bought an art book called ‘Contagious magick of the super abundance’ collecting the major visual art of artist Ian Johnstone. Simply beautiful, mesmerizing and captivating pieces of art. Especially his series ‘The 23 Stab Wounds of Julius Caesar’ and the art work he did for the music band Coil. Many years ago I had the opportunity to see one of his live performance in London and was amazing. I believe he is awfully underestimated and surprisingly unknown. Definitely worthy to check his work out! 

16. How often do you consider the viewer when creating images? Do you create work for yourself or for others and do you ever feel pressure to create work as your career has progressed?

I create for myself, but of course I am aware that some of the work I do is more accessible than others. I am interested in ‘dark art’ as much as I am interested in ‘pop art’; I think that interest is mirrored in my work. 

17. Do you have a question you’d like me to ask the next artist I interview?

Do you ever experiment with materials other than the ones you usually work with?

18. Copyright, especially in the technological age, is a huge problem. What actions do you take to ensure that your work is not being used without your permission, and have you had any experiences with plagiarism? Is this an issue that you think about and what are your thoughts about intellectual property rights for artists?

That s a funny question to ask to someone who makes collages. I steal others people work to create my work so I guess I shouldn’t complain much. 

I don’t really take any action and I don’t have any experience with plagiarism. I can see in the collage world certain trends but I guess that is part of the game. 

19. What are you currently working on at the moment and where can readers find more about you and your work?

Currently I am collaborating with the screen printing studio The Print Block (www.theprintblock.com), through the initiative The OffCut Project, who are raising money for the charity The Trussell Trust. At the same time I continue to work on my own personal projects. 

You can find more information about my work on www.tomamoretti.com or on Instagram @tomamoretti. I also have prints for sale at Conclave Gallery, you can visit them in person if you are around Brighton or online (www.conclave-brighton.co.uk)