Our Q&A special feature this month is sculptor Paul Bonomini
BIO
I am a British sculptor, born in London. My practice is driven and guided by materiality, from the initial stages of the encounter, gathering an archive of potential components, to the resulting large-scale sculptural compositions that interrogate the relationship between the human body and our physical environment.
https://www.bonominisculptor.com
Instagram: @Paul_Bonomini
1 – What was your journey to focus on art?
I guess my father and most of his family were artisans of one kind or another, engravers, engineers, instrument makers and they all sketched and painted. I of course followed that tradition and was never without a sketch book. I did a foundation course at St Martins, an amazing year of experimentation, both in and out of class, followed by a BA in Theatre Design at Central School of Art. I learnt to design sets, make scale models, technical drawings, paint scenery, design and make costumes and props, act and direct in three wonderfully exciting years. After a year in Japan studying Kabuki Theatre, I spent the next 6 years working in the Opera world, for such luminaries as Ralph Koltai, Stefanos Lazaridis and Maria Bjornson.
In the late 80’s I was commissioned to design a multi-million pound show for Rover Cars, and so began a thirty year career in the corporate world which included designs for large scale arena shows in the Middle East, touring sets, the SAAB museum in Trollhatten, Sweden and the WEEEMAN a 7.5 metre figure commissioned by the Royal Society for Arts and Industry to highlight issues around land fill. The transition from designer to sculptor was a natural fit as I had always made things with my hands. My first thought being an MA, but that involved far too much theory and writing, when what I actually wanted to do was just make stuff! So I enrolled at Morley College on a metal sculpture course, learnt to weld, bend cut metal and along the way became a member of a bronze casting foundry team, teaching all aspects of the lost wax process at Morley College, whilst juggling with my own sculptural practice work. I love it!
2 – What are your thoughts on the art world today, do you think art is relevant?
Art is and will always be relevant. I worry slightly about its commodification, so in my practice, I concentrate on getting the work seen rather than selling it.
3 – If you could own one piece of artwork what would it be and why?
If I had the space in Richard Deacon’s ‘After’ 1988 I went to the show at Tate Britain at least 5 times it touches me viscerally, and I’m blown away by the technical skill involved in making the piece.
4 – What would your advice be to someone wanting to venture into the art world today?
Be prepared to be poor.
5- If you could go back 10-20 years what would you tell your younger self?
Go, be a sculptor!
6 – In 5 - 10 years’ time what do you hope to have done or not done within the arts?
I guess I crave recognition in some small way; I just want people to see and enjoy my work.
