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Born in Boston in 1988, he earned his MFA in Furniture Design from Rhode Island School of Design in 2013. In Puglia, Colantonio apprenticed with the most renowned living Maestro of cartapesta, or papier-mâché, where the technique is used to make religious effigies to be carried in processions.",[],"normal",["null","__typename",512,"asset",513],"File",["null","__typename",514,"url",515],"SanityFileAsset","https://cdn.sanity.io/files/ay1kdiap/production/8c47a5302c47d59e246bf64dc33d5c1fee290622.pdf",[517],["null","__typename",518,"artists",519,"closingDate",535,"featuredImage",536,"featuredVideo",10,"location",539,"name",542,"openingDate",543,"slug",544],"Exhibition",[520,523,526,529,532],["null","__typename",317,"firstName",521,"lastName",522],"Gaetano","Pesce",["null","__typename",317,"firstName",524,"lastName",525],"Nazanin","Jahangir",["null","__typename",317,"firstName",527,"lastName",528],"Max","Lamb",["null","__typename",317,"firstName",530,"lastName",531],"Leonor","Fini",["null","__typename",317,"firstName",533,"lastName",534],"F Taylor","Colantonio ","2022-10-23",["null","__typename",9,"alt",10,"asset",537],{"__ref":538},"SanityImageAsset:image-843d0ec8938afd6a6d4aa854e138e53b824b00ad-3500x2334-jpg",["null","__typename",540,"name",541],"Location","Zut! Paris","53 Miles West of Venus","2022-10-18",["null","__typename",332,"current",545],"zut",["null","__typename",9,"alt",10,"asset",547,"captionRaw",10,"captionColor",10],{"__ref":548},"SanityImageAsset:image-ade1d59fe1d28bbc558e0cf1f798d6e1180142c0-7836x5227-jpg","b. 1988",[551,652,738,929,1168],["null","__typename",552,"articleRaw",553,"author",647,"link",648,"pdf",10,"publicationDate",649,"publisher",650,"title",651],"Press",[554,562,571,576,584,592,600,607,612,624,632,639],{"_key":555,"_type":502,"children":556,"markDefs":561,"style":510},"6a82b0a06f23",[557],{"_key":558,"_type":506,"marks":559,"text":560},"7c1576445ae00",[],"F. Taylor Colantonio is transforming an age-old process that in his hands feels fresh and novel. His medium is papier-mâché, and his subject matter is a mixture of history and myth. He realizes other ideas in the form of coiled-rope vessels and plastic floor coverings.",[],{"_key":563,"_type":564,"image":565,"size":570},"bf6b6aedea27","imageBlock",{"_type":566,"asset":567},"img",{"_ref":568,"_type":569},"image-0216e745b0442f224512933136000d8cb7d460e1-618x820-jpg","reference",0.5,{"_key":572,"_type":564,"image":573,"size":570},"50959510bad2",{"_type":566,"asset":574},{"_ref":575,"_type":569},"image-7a7bd762021f18be30f4c7f3962d1dad67d34512-608x916-jpg",{"_key":577,"_type":502,"children":578,"markDefs":583,"style":510},"535c917c0cdd",[579],{"_key":580,"_type":506,"marks":581,"text":582},"5656a226dd8e0",[],"Colantonio, who is from Boston, is a graduate of the Rhode Island School of Design, where his classmates included the artist Katie Stout and the interior designer Adam Charlap Hyman, both of whom own his work.\n",[],{"_key":585,"_type":502,"children":586,"markDefs":591,"style":510},"d96a71c7a74c",[587],{"_key":588,"_type":506,"marks":589,"text":590},"911d515344df",[],"An apprenticeship with a master papier-mâché artisan in Puglia, Italy, spawned a practice that is equal parts rigor and invention. Colantonio has innovated a technique that mimics marble in its patterning and color, using a recipe of his own making that took three years to develop.",[],{"_key":593,"_type":502,"children":594,"markDefs":599,"style":510},"8b3b3975f1c6",[595],{"_key":596,"_type":506,"marks":597,"text":598},"628b668aab09",[],"",[],{"_key":601,"_type":502,"children":602,"markDefs":606,"style":510},"af56daa4f72d",[603],{"_key":604,"_type":506,"marks":605,"text":598},"6ddf48385fbf",[],[],{"_key":608,"_type":564,"image":609,"size":570},"8fb07ea0ae2b",{"_type":566,"asset":610},{"_ref":611,"_type":569},"image-ab5632e8eec3717a4564a494e63997272d5bed11-604x902-jpg",{"_key":613,"_type":502,"children":614,"markDefs":623,"style":510},"7ed1eeb905a2",[615,619],{"_key":616,"_type":506,"marks":617,"text":618},"0315d5dcc3c50",[],"\n",{"_key":620,"_type":506,"marks":621,"text":622},"7c02cbb6bdbc",[],"Now he’s based in Rome, and the city’s past influences his practice. “My work is inspired by marble and the science of collecting, documenting, and studying it,” he says. While much of his art is commissioned, several of his woven vases and rugs are available through Coming Soon, a contemporary design shop in New York City’s Chinatown.\n",[],{"_key":625,"_type":502,"children":626,"markDefs":631,"style":510},"f7b2399c127f",[627],{"_key":628,"_type":506,"marks":629,"text":630},"30ac34108ee80",[],"With each new object, Colantonio expands his practice, cataloging samples and applying what he’s learned to future works. In this way, he is constantly mining antiquity to create something new. “What I love about this medium,” he says, “is that I can push it to do things that other materials can’t.”",[],{"_key":633,"_type":502,"children":634,"markDefs":638,"style":510},"6c1e2a7ef50e",[635],{"_key":636,"_type":506,"marks":637,"text":598},"1107a83056b0",[],[],{"_key":640,"_type":502,"children":641,"markDefs":646,"style":510},"53d4d47ae53f",[642],{"_key":643,"_type":506,"marks":644,"text":645},"0f0537f6ac3d",[],"Photos: Serena Eller. ",[],"CAMILLE OKHIO","https://www.elledecor.com/life-culture/a39012219/craft-revival/","2022-02-24","Elle Decor","MEET THE FIVE RISING DESIGN STARS BRINGING TRADITION INTO THE 21ST CENTURY",["null","__typename",552,"articleRaw",653,"author",733,"link",734,"pdf",10,"publicationDate",735,"publisher",736,"title",737],[654,662,670,675,683,691,696,704,712,717,725],{"_key":655,"_type":502,"children":656,"markDefs":661,"style":510},"00321d0f0281",[657],{"_key":658,"_type":506,"marks":659,"text":660},"04ab018b3f360",[],"The furniture and object designer F. Taylor Colantonio, dressed in a red-trimmed poet’s blouse, gives a gentle shove to a fluted Doric column in his small, theatrically furnished loft in the Campo de’ Fiori neighborhood of Rome. The column wobbles loose from the wall, revealing itself suddenly to be light as Styrofoam, phony as a stage set. “Everything in my house is fake,” says Colantonio. “I’m a punk collector. It’s all fake.”",[],{"_key":663,"_type":502,"children":664,"markDefs":669,"style":510},"ccfc63f7c89e",[665],{"_key":666,"_type":506,"marks":667,"text":668},"394af3b2ee7b0",[],"In addition to working on interior design projects for private clients, Colantonio, 30, creates surrealist objects, which range from coiled-rope vases to snakelike rebar candlesticks to transparent rugs. Championed by Alex Eagle, the owner of the Store, and the design dealer Jermaine Gallacher ",[],{"_key":671,"_type":564,"image":672,"size":570},"4c633187be6b",{"_type":566,"asset":673},{"_ref":674,"_type":569},"image-21b6436b3f081a96680a3b97e83796b049d30b3f-1320x1652-jpg",{"_key":676,"_type":502,"children":677,"markDefs":682,"style":510},"e4ebe7880c40",[678],{"_key":679,"_type":506,"marks":680,"text":681},"f4263c0138dc",[],"(who both sell his work in their London boutiques), his pieces are often offbeat interpretations of chintzy suburban décor and imitations of antiquity.",[],{"_key":684,"_type":502,"children":685,"markDefs":690,"style":510},"b3db6a32abb6",[686],{"_key":687,"_type":506,"marks":688,"text":689},"64d3b352d3f90",[],"At his apartment’s towering picture window, a ceramic tiger — a flea market find as big as a real cub — stands guard, across from a daybed upholstered with hand-painted violet-striped linen. Colantonio composed an intricate savanna mural for the wall above — tropical creatures amid palms and yellow roses — rendered in the chalky children’s tempera paints he prefers. In the dining alcove, in front of a collection of modern ceramic vases inspired by ancient urns, is a black-and-cream vase of his own creation. It occupies a 19th-century walnut table and recalls a Greek kylix, but it flops, uncannily, to one side, its body made not of rigid and impermeable pottery, but of softly coiled machine-braided rope. “The wonkiness gives it personality and gesture,” Colantonio explains, lifting it by its squishy lollipop-like handles. The vase is a vase in idea only. A fake.",[],{"_key":692,"_type":564,"image":693,"size":570},"14a563356dac",{"_type":566,"asset":694},{"_ref":695,"_type":569},"image-b3095eecf7efae5d85924197c68096a878c0a0a0-1774x1416-jpg",{"_key":697,"_type":502,"children":698,"markDefs":703,"style":510},"8f6f47c3e6de",[699],{"_key":700,"_type":506,"marks":701,"text":702},"b58afa3733b80",[],"The great-grandson of an Italian immigrant, Colantonio was raised in the suburbs of Massachusetts, studied furniture design at RISD and moved to this loft in Rome two years ago, just after completing an artist’s residency in Puglia with a maestro of traditional papier-mâché. Though his works are still fabricated in factories in Rhode Island, rather than in local artisan workshops, Colantonio prefers to live in this ancient Italian city, where he can look to its Classical and Baroque architecture and the Surrealism of Giorgio De Chirico — whose own fake-filled home is nearby — rather than follow the currents of the contemporary design world. “As someone making things, it’s really nice to live in a cosmopolitan setting like Rome, but to be free of the present, to avoid all those trends and influences,” he says.",[],{"_key":705,"_type":502,"children":706,"markDefs":711,"style":510},"ad8f84422107",[707],{"_key":708,"_type":506,"marks":709,"text":710},"a426f5c167cc0",[],"Colantonio crosses the Tiber River each day to his studio in the vibrant Trastevere neighborhood. The space once belonged to another lover of fakery — the impish artist Gino De Dominicis, who faked his own death in 1969 — but today it is strewn with Colantonio’s current projects. Among these are sheets of wallpaper inked to mimic the striped walls of a circus tent and a series of woven PVC lamps, their clear vinyl surfaces painted with swirls of colors in a homage to Carla Accardi, the Roman artist who helped pioneer the Arte Povera movement.",[],{"_key":713,"_type":564,"image":714,"size":570},"e95d77bacfc9",{"_type":566,"asset":715},{"_ref":716,"_type":569},"image-e60ac2b3db58ab3c1a33d00cb4e8eaafd172b2c7-1138x1422-jpg",{"_key":718,"_type":502,"children":719,"markDefs":724,"style":510},"9e3775d11845",[720],{"_key":721,"_type":506,"marks":722,"text":723},"a7fa1231b70a0",[],"In the intimate glass-roofed space, Colantonio stands attaching cloth-covered electrical cables to the rainbow-colored cluster of lights at his tall wooden work table. To his back, a pair of six-foot-tall rope vases stand, slouching like sleepy sentinels; on a vintage armoire hang two blazers, hand-painted by Colantonio with the ancient columns and architecture that decorated De Chirico’s Ballets Russes costumes; on the floor lie a few of what he calls his “magic carpets” — seemingly pedestrian Persian throw rugs that are, in fact, made of transparent plastic and expose rather than cover the floor underneath. It’s a “material shift,” he says, “that removes the rugness of the object.”",[],{"_key":726,"_type":502,"children":727,"markDefs":732,"style":510},"538a2c9b9dfe",[728],{"_key":729,"_type":506,"marks":730,"text":731},"ba84413180390",[],"“I’m interested in giving people a connection to an archetype, to something familiar,” says Colantonio. But there must always be a surprise, a shift that blurs the line between the suburban and the exotic, the mass-produced and the handmade, the authentic and the fake. “Familiarity is essentially trash, but it offers people the possibility to understand,” he says, as he flaps a stiff crystalline rug down on the floor, handling the unbending sheet as if it were actually supple textile. “I’m genuinely interested in the trash, but I’m looking for the sweet spot between familiarity and the avant-garde.”",[],"Laura Rysman","https://www.nytimes.com/2019/01/28/t-magazine/f-taylor-colantonio-designer-studio.html","2019-06-28","T Magazine","Inside a Designer’s Theatrical Apartment and Studio in Rome",["null","__typename",552,"articleRaw",739,"author",924,"link",925,"pdf",10,"publicationDate",926,"publisher",927,"title",928],[740,748,757,811,816,823,909,916],{"_key":741,"_type":502,"children":742,"markDefs":747,"style":510},"e65fcdab25c3",[743],{"_key":744,"_type":506,"marks":745,"text":746},"8a75237af4b10",[],"Decorator and designer, F. Taylor Colantonio interprets, throughout his collections, objects with classic shapes in a singular and fanciful way. He himself describes them as “kitsch copies”. Vases, urns, rugs, pendant lights... All are inspired by archetypes from Antiquity, the 19th or the 20th century, to which the designer brings his touch of ultrapersonal madness. Improbable material, overproportioned size or disturbing trompe-l'oeil, F. Taylor Colantonio's creations are unexpected, and they sometimes flirt with the absurd, even if their origins always remain obvious and familiar.",[],{"_key":749,"_type":502,"children":750,"markDefs":756,"style":510},"fb0fda498398",[751],{"_key":752,"_type":506,"marks":753,"text":755},"19ddfa64eba7",[754],"strong","Italy vs USA",[],{"_key":758,"_type":502,"children":759,"markDefs":810,"style":510},"ddaeac1a2491",[760,764,769,773,777,780,784,788,792,795,799,802,806],{"_key":761,"_type":506,"marks":762,"text":763},"ec227f46edca",[],"\nComing from a Roman family that emigrated to Boston at the beginning of the 20th century, F. Taylor Colantonio tells us his family legend: “ ",{"_key":765,"_type":506,"marks":766,"text":768},"c8c539f754ab",[767],"em","Even if there is no way to prove it, it is said in my family that we are descendants of the mysterious Italian early Renaissance painter Niccolò Colantonio.",{"_key":770,"_type":506,"marks":771,"text":772},"4120f95c07a8",[]," ",{"_key":774,"_type":506,"marks":775,"text":776},"68f7eb21884b",[767],"With Dutch training, this painter at the court of the kings of Naples would have been one of the first to use oil paint in Italy.",{"_key":778,"_type":506,"marks":779,"text":772},"0c0c264c7445",[],{"_key":781,"_type":506,"marks":782,"text":783},"51522aca7050",[767],"At the Capodimonte Museum in Naples, a room is dedicated to his work, I like to go and stroll there.”",{"_key":785,"_type":506,"marks":786,"text":787},"6fed0bf2bc61",[],"\nBut, before living the Italian dolce vita, F. Taylor Colantonio grew up thousands of kilometers from Rome, on a remote ranch in Massachusetts. His first name F. raises questions, and yet it is not a pseudonym. Following a simple clerical error in his birth certificate, the man who should have been called Francis like his father was ultimately only called F. As a child, this solitary boy spent his days in the woods, inventing his own myths and build “strong castles” made of gleaned branches. For his birthdays, his mother likes to imagine real fantastic worlds for him which she creates entirely, from papier-mâché, scraps of fabric and other recovered trinkets. F. remembers: ",{"_key":789,"_type":506,"marks":790,"text":791},"912c8d1b2fa9",[767],"“One year, she was inspired by Atlantis.",{"_key":793,"_type":506,"marks":794,"text":772},"e7f923258f80",[],{"_key":796,"_type":506,"marks":797,"text":798},"e096971d7179",[767],"My grandparents presided over the party dressed as King and Queen Neptune... Another time, she imagined a safari, for which she made dozens of life-size paper animals, which she installed all over the place. garden and in the trees.",{"_key":800,"_type":506,"marks":801,"text":772},"9dfc1399f4c0",[],{"_key":803,"_type":506,"marks":804,"text":805},"e7a41e2ed324",[767],"It was always completely magical.”",{"_key":807,"_type":506,"marks":808,"text":809},"f3bb944adfe6",[]," For his part, his father trained him in more technical tasks: F. quickly learned to sculpt small wooden toys, make, tinker, weld... Regularly projected into small ephemeral worlds since his early childhood, the designer has forged himself a colorful romantic personality.\nIn 2016, after studying literature and then furniture design, F. Taylor Colantonio finally left the United States for Italy, and became an apprentice to Antonio Papa, the undisputed master of cartapesta (papier maché in Italian). Based in a workshop in the south of Puglia, he is passionate about this precious traditional know-how inherited from old masters. A few months later, the designer settled permanently in Rome and designed his tailor-made setting there.\n",[],{"_key":812,"_type":564,"image":813,"size":570},"b7de8c246f61",{"_type":566,"asset":814},{"_ref":815,"_type":569},"image-bf3d93f73bf4a842c781832b90ee87d184aa408c-750x1008-jpg",{"_key":817,"_type":502,"children":818,"markDefs":822,"style":510},"ac7782d90140",[819],{"_key":820,"_type":506,"marks":821,"text":598},"83d12988de5a",[],[],{"_key":824,"_type":502,"children":825,"markDefs":908,"style":510},"f2b1a0f32c08",[826,830,834,838,841,845,848,852,856,860,864,868,871,875,878,882,886,890,893,897,900,904],{"_key":827,"_type":506,"marks":828,"text":829},"94d6e56af2540",[754],"La dolce Roma",{"_key":831,"_type":506,"marks":832,"text":833},"94d6e56af2541",[],"\nIn the heart of F. Taylor Colantonio's apartment, trompe-l'oeil is king. He explains his decorative approach to us: ",{"_key":835,"_type":506,"marks":836,"text":837},"94d6e56af2542",[767],"“When I moved to Rome, I had little money.",{"_key":839,"_type":506,"marks":840,"text":772},"94d6e56af2543",[],{"_key":842,"_type":506,"marks":843,"text":844},"94d6e56af2544",[767],"I wanted to take the opposite approach by imagining a richly decorated space, which is ultimately what many people aspire to.",{"_key":846,"_type":506,"marks":847,"text":772},"94d6e56af2545",[],{"_key":849,"_type":506,"marks":850,"text":851},"94d6e56af2546",[767],"It was a way of making fun of this madness of grandeur, and offering a homemade copied version of it, like a cardboard theater set.”",{"_key":853,"_type":506,"marks":854,"text":855},"94d6e56af2547",[]," In front of the bay window sits a life-size ceramic tiger, brought back by tram from a garage sale, and which has become the neighborhood mascot. Wall frescoes, painting on screens, on sofas, on cushions… everything, absolutely everything has passed through the hands of this compulsive creator. Scattered here and there, the urns and amphorae he created from colored flexible cable catch the eye and arouse our curiosity. Printed on transparent ecological plastic, its aptly named ",{"_key":857,"_type":506,"marks":858,"text":859},"94d6e56af2548",[767],"“Magic carpets”",{"_key":861,"_type":506,"marks":862,"text":863},"94d6e56af2549",[]," play with our perception and highlight a floor rather than hiding it. ",{"_key":865,"_type":506,"marks":866,"text":867},"94d6e56af25410",[767],"“I see Greco-Roman and Etruscan antiquity as the ultimate primary source, as it significantly influenced all civilizations that followed.",{"_key":869,"_type":506,"marks":870,"text":772},"94d6e56af25411",[],{"_key":872,"_type":506,"marks":873,"text":874},"94d6e56af25412",[767],"If we look far enough, towards the original sources, we can avoid contamination by the trends that govern the design world today.",{"_key":876,"_type":506,"marks":877,"text":772},"94d6e56af25413",[],{"_key":879,"_type":506,"marks":880,"text":881},"94d6e56af25414",[767],"I can no longer stand going to the Salone del Mobile during Milan Design Week and seeing the same ideas, the same shapes, the same materials hundreds of times.”",{"_key":883,"_type":506,"marks":884,"text":885},"94d6e56af25415",[]," He concludes by adding: ",{"_key":887,"_type":506,"marks":888,"text":889},"94d6e56af25416",[767],"“I don’t believe in mood boards and I hate Pinterest.",{"_key":891,"_type":506,"marks":892,"text":772},"94d6e56af25417",[],{"_key":894,"_type":506,"marks":895,"text":896},"94d6e56af25418",[767],"Personally, I like to let references simmer in my brain before letting them enter my work.",{"_key":898,"_type":506,"marks":899,"text":772},"94d6e56af25419",[],{"_key":901,"_type":506,"marks":902,"text":903},"94d6e56af25420",[767],"And this works much better when the original forms are far from the eyes, from the mind…”",{"_key":905,"_type":506,"marks":906,"text":907},"94d6e56af25421",[],"\nWord to the wise!",[],{"_key":910,"_type":502,"children":911,"markDefs":915,"style":510},"8e36ea0d33bc",[912],{"_key":913,"_type":506,"marks":914,"text":598},"3d1290c77e34",[],[],{"_key":917,"_type":502,"children":918,"markDefs":923,"style":510},"871992fa0054",[919],{"_key":920,"_type":506,"marks":921,"text":922},"8841a58690080",[],"Photos: Federico Torra",[],"Julie Boucherat","https://www.milkdecoration.com/f-taylor-colantonio/","2019-07-31","Milk Decoration ","An absurd and theatrical universe, inspired by classic forms",["null","__typename",552,"articleRaw",930,"author",1163,"link",1164,"pdf",10,"publicationDate",1165,"publisher",1166,"title",1167],[931,936,952,960,968,976,992,1000,1008,1015,1020,1036,1043,1048,1056,1064,1071,1076,1092,1100,1107,1112,1128,1136,1143,1148,1155],{"_key":932,"_type":564,"image":933,"size":570},"6fee3fd77b68",{"_type":566,"asset":934},{"_ref":935,"_type":569},"image-b0871e956b7e34e6587ed4c49185dfa64fa38846-1437x1797-png",{"_key":937,"_type":502,"children":938,"markDefs":951,"style":510},"7955e2ada6d6",[939,943,947],{"_key":940,"_type":506,"marks":941,"text":942},"ee527596e0410",[],"Many romantic gays, past and present, have dreamed of leaving their lives behind, moving to Italy and pursuing a creative life. F Taylor Colantonio is one of the few who actually did. After finishing his MFA in furniture design at the Rhode Island School of design, he moved with his partner, Tim Moore, to Rome. In his stunning studio on one of Rome’s most beautiful streets, Via Giulia, he creates sculptural works in bronze, fused glass, and polished cartapesta, a unique material he has been developing since 2012. Experimental in terms of materiality and craft, his works challenge the traditional hierarchy between art and design. Colantonio’s inaugural solo exhibition, ",{"_key":944,"_type":506,"marks":945,"text":946},"ee527596e0411",[767],"Frutti di Mare",{"_key":948,"_type":506,"marks":949,"text":950},"ee527596e0412",[],", which features eleven new sculptures that incorporate otherworldly geologies, queer history, surrealism and poetry, opened with Object & Thing (https://www.instagram.com/object_thing/) during the 2024 Venice Biennale. Shortly after it opened, I spoke to the artist about finding inspiration in Sappho, working with ammonite, and Italy’s rich history as a reprieve for gay men.",[],{"_key":953,"_type":502,"children":954,"markDefs":959,"style":510},"6c4359296490",[955],{"_key":956,"_type":506,"marks":957,"text":958},"c34b016ef2920",[],"———",[],{"_key":961,"_type":502,"children":962,"markDefs":967,"style":510},"0057f139d8cf",[963],{"_key":964,"_type":506,"marks":965,"text":966},"90c17dc9202e0",[],"ADAM ELI: From Thomas Mann to Tom Ripley, Venice has a long history of drawing gay men to its shores. Aside from the beauty and drama, what is it about Venice that so intrigues the homosexual?\n\nF TAYLOR COLANTONIO: Venice is a port city at the edge of the world. It has always been a place where cultures and ideologies have mixed in dark alleys, and it has always attracted artists, pleasure-seekers, grifters, criminals, hedonists, and, of course, sailors. Filippo de Pisis was famously arrested in Venice by the fascists for hosting a party during which guests were served by young Venetian men in loincloths. I love Venice because it is a city of mysteries, of masks, of dualities and duplicities. Where better to play with identity and reinvention than the city where some of the most iconic surrealist costume balls in history have been held?",[],{"_key":969,"_type":502,"children":970,"markDefs":975,"style":510},"141bdaeffc4b",[971],{"_key":972,"_type":506,"marks":973,"text":974},"1fddd55a45190",[],"ELI: In what way did Venice inspire the show?",[],{"_key":977,"_type":502,"children":978,"markDefs":991,"style":510},"70574ab09a35",[979,983,987],{"_key":980,"_type":506,"marks":981,"text":982},"cb4082c9243c0",[],"COLANTONIO: Venice inspired the show quite a bit, actually. Apart from the material references to Venetian terrazzo and palladiana floors in many of the works, or the formal nod to the gondola chair typology at the center of the show, the works are impressionistic retellings of mythologies that explore queerness through water” “Frutti di Mare” or Fruits of the Sea, is of course a playful reference to the Italian seafood menu offering, but also a play on the idea that in Ancient Greek and Roman myth, water is often a catalyst for queer metamorphosis. Take Narcissus, for example, who is bewitched in the fountain pool to fall in love with his own reflection, becoming so lovesick that his body withers and transforms into a pure white flower. The story had a particular resonance while I was at the gay beach in Calabria last summer and noticed the white sea lilies, or ",{"_key":984,"_type":506,"marks":985,"text":986},"cb4082c9243c1",[767],"narciso marino",{"_key":988,"_type":506,"marks":989,"text":990},"cb4082c9243c2",[],", which spring forth from the dunes. I’ve synthesized a telling of this tale, perhaps too obviously, in a mirror which is adorned with stylized bronze sea lilies blowing in a gentle breeze.",[],{"_key":993,"_type":502,"children":994,"markDefs":999,"style":510},"431b7dac5cdd",[995],{"_key":996,"_type":506,"marks":997,"text":998},"95e0ebb8f71b0",[],"ELI: Can you tell me about the chair that sits in the center of the show?",[],{"_key":1001,"_type":502,"children":1002,"markDefs":1007,"style":510},"ee89b86f81b5",[1003],{"_key":1004,"_type":506,"marks":1005,"text":1006},"7f8c58d9e0b90",[],"COLANTONIO: The chair was inspired by Nerites who was the great love of Poseidon but was ultimately turned into a sea snail. Their love together is the foundation of the Greek concept of Anteros —or “requited” or reciprocated love. Why have we been programmed to believe that the only true love story is a heteronormative one, when one of the oldest known sources to identify the very concept of pure love refers to a relationship between two men? The form of the chair references the gondola chair typology, which connects the work to Venice, but the shape is also a nod to Nerites’s unrivaled skill as a competitive sea chariot racer, a talent which made Poseidon, the God of the Sea, exceedingly… wet. The chair takes its name, “You will dance will me in the sunlit pools,” from a Kate Bush lyric which I think encapsulates the imagery of a blissful underwater courtship and love story so perfectly, and perhaps foreshadows the tragic ending of the tale: the transformation of Nerites to a sea snail, confined to a small tidal pool, by a jealous older gay who wanted the beautiful youth all to himself. ",[],{"_key":1009,"_type":502,"children":1010,"markDefs":1014,"style":510},"8c5153d2b98c",[1011],{"_key":1012,"_type":506,"marks":1013,"text":598},"b9d51cfcf544",[],[],{"_key":1016,"_type":564,"image":1017,"size":570},"0660f08a5e35",{"_type":566,"asset":1018},{"_ref":1019,"_type":569},"image-def746187ea25f79e9e63d5bb460d51d56ad8ddc-1437x1797-png",{"_key":1021,"_type":502,"children":1022,"markDefs":1035,"style":510},"f3eecffa6066",[1023,1027,1031],{"_key":1024,"_type":506,"marks":1025,"text":1026},"8ef9d6c19ec30",[],"ELI: Will you tell me about the highly suggestive watering can that you created?\n\nCOLANTONIO: The bronze watering can, “Acquadolce,” meaning fresh or sweet water, is of course rendered as an ithyphallic icon, or an erect phallus. From the watering can springs forth a life-giving essence. My friend Peter Miller often says that “gardening is a radical act.” A great example of that is Prospect Cottage, the former home and sanctuary of artist, filmmaker, activist and gardener Derek Jarman. Gardening, like making art, is radical world-building, which is often what those who live outside conventional norms must do for their own survival. Works of art, like gardens, are propagated and nurtured. I find that any instinct or impulse I have to raise children, something that doesn’t interest me much, is satisfied by making my work. Plus, the erect phallus, or ",{"_key":1028,"_type":506,"marks":1029,"text":1030},"8ef9d6c19ec31",[767],"fascinum",{"_key":1032,"_type":506,"marks":1033,"text":1034},"8ef9d6c19ec32",[],", an image that recurs in my work, is said to protect against bad energy.",[],{"_key":1037,"_type":502,"children":1038,"markDefs":1042,"style":510},"a65366c98ceb",[1039],{"_key":1040,"_type":506,"marks":1041,"text":598},"8d22ec12ec02",[],[],{"_key":1044,"_type":564,"image":1045,"size":570},"c1b66c14f918",{"_type":566,"asset":1046},{"_ref":1047,"_type":569},"image-ece984befa1d0f59d8f08ada85b951bbf2d3d708-1318x1647-png",{"_key":1049,"_type":502,"children":1050,"markDefs":1055,"style":510},"9fc517cdc45d",[1051],{"_key":1052,"_type":506,"marks":1053,"text":1054},"462e815e17120",[],"ELI: Can you tell me about the wall work named after the Sappho poem?",[],{"_key":1057,"_type":502,"children":1058,"markDefs":1063,"style":510},"0200b71cc5e2",[1059],{"_key":1060,"_type":506,"marks":1061,"text":1062},"0ea11c1ad02b0",[],"COLANTONIO: This past summer I took some time to explore a series titled ‘Nocturnes’, each inspired by a poem or song which describes the night sky. There are at least two which derive their imagery and title from a Tennyson poem, a few that reference Kate Bush lyrics, and then there’s this one, “the Moon has set and the Pleiades,” taken from a line in Sappho’s famous “Midnight Poem.” It’s said she wrote these quiet lines to describe the ephemeral feeling of aloneness while waiting for a lover to arrive. I love imagining Sappho gazing up at the same sky that we see today, observing the same celestial bodies. I read that astronomers recently used a software to understand what time of year and exactly where geographically Sappho must have been writing in order for her to observe the night sky as she describes in the poem. It gives me chills to place her so humanly, so physically, in a specific place and time, thousands of years later.",[],{"_key":1065,"_type":502,"children":1066,"markDefs":1070,"style":510},"18fac6713b9e",[1067],{"_key":1068,"_type":506,"marks":1069,"text":598},"3af34c41b71e",[],[],{"_key":1072,"_type":564,"image":1073,"size":570},"6de05eca7ffa",{"_type":566,"asset":1074},{"_ref":1075,"_type":569},"image-3f7ea366e15ef01c0b412bb6c722a5598487440c-2048x1638-png",{"_key":1077,"_type":502,"children":1078,"markDefs":1091,"style":510},"7ce3f28167b2",[1079,1083,1087],{"_key":1080,"_type":506,"marks":1081,"text":1082},"888eaf00aff30",[],"ELI: You created a piece of work in the show for your partner Tim that isn’t for sale. Can you tell me about the piece and why you chose to include it?\n\nCOLANTONIO: The work I made for Tim is a small, wall-mounted ammonite with a peep hole and a tiny mirror inside called ",{"_key":1084,"_type":506,"marks":1085,"text":1086},"888eaf00aff31",[767],"Eye of Beholder III",{"_key":1088,"_type":506,"marks":1089,"text":1090},"888eaf00aff32",[],". In ancient times, it was believed that putting an ammonite fossil under your pillow while you slept could help you have prophetic dreams. Whenever I make one of these little ammonite works, they are installed at the exact eye-height of the person to whom they are dedicated so that only this person can complete or activate the work by looking through the peephole to find a perfect reflection of their own eye. It’s a small, intimate moment. I included it in the show, despite it not being for sale, because it recalls the concept of reciprocated love first explored through the chair, a concept which has an ancient gay origin but is now, fortunately, a reality for me in 2024.",[],{"_key":1093,"_type":502,"children":1094,"markDefs":1099,"style":510},"06d5f42dd0f9",[1095],{"_key":1096,"_type":506,"marks":1097,"text":1098},"7f08455f302c0",[],"ELI: What queer Italian artists, writers and creatives should we have on our list?\n\nCOLANTONIO: I think the two greatest living artists in Rome are Luigi Ontani and Elisabetta Benassi who both have long histories of subverting gender conventions in their work. Ontani plays with identity through costume and persona, a sort of proto-Cindy Sherman, and Benassi by playing with traditionally “macho,” ready-made components like fishing boats, rusted Fiats, and tractors. I would love to see a two-person show of their work. It’s so visually different that the tension there could be profound.",[],{"_key":1101,"_type":502,"children":1102,"markDefs":1106,"style":510},"96c490b4ef2c",[1103],{"_key":1104,"_type":506,"marks":1105,"text":598},"b6e7b2f1c5d9",[],[],{"_key":1108,"_type":564,"image":1109,"size":570},"0be40cd21e32",{"_type":566,"asset":1110},{"_ref":1111,"_type":569},"image-bed8509cb90d6797b2533aca854cfe1614bc15e3-1437x1797-png",{"_key":1113,"_type":502,"children":1114,"markDefs":1127,"style":510},"725097872dc8",[1115,1119,1123],{"_key":1116,"_type":506,"marks":1117,"text":1118},"0943480a7cd80",[],"ELI: Your partner Tim recently published a book titled ",{"_key":1120,"_type":506,"marks":1121,"text":1122},"0943480a7cd81",[767],"Sleepless Traveler",{"_key":1124,"_type":506,"marks":1125,"text":1126},"0943480a7cd82",[],", a collection of poems by the Italian poet Sandro Penna. For those who don’t know, can you tell us a little bit about Penna and the influence he has had on your work?\n\nCOLANTONIO: Penna lived and died about a block away from my studio, and his memory is still preserved by some of the older shopkeepers and cafe owners in the neighborhood. He often uses the sea or pools of water to echo this idea of ephemerality. It is both sublime and melancholic at the same time—there is one poem in which he describes a beautiful young military recruit, more beautiful than Botticelli’s Venus, standing at the edge of a fountain pool, and another in which he observes a young, beautiful man at the beach and thinks to tell him that one day he, too, will die.",[],{"_key":1129,"_type":502,"children":1130,"markDefs":1135,"style":510},"00af8d29e9d2",[1131],{"_key":1132,"_type":506,"marks":1133,"text":1134},"34ee8fb33d650",[],"ELI: What is something really gay that someone visiting Rome or Venice should do?\n\nCOLANTONIO: In Venice, stop by Alessandro Merlin’s studio and shop. He glazes gay illustrations onto porcelain teacups and flatware. His studio, collaged with visual references from gay porn history, is a sight to behold, and he may just invite you to pose for his next work. I’m not sure how one arranges a visit to the Villa Albani in Rome, I think you have to write the foundation, but inside there is the marble bas relief portrait of Antinous that Hadrian kept in his bedroom in Villa Adriana at Tivoli. It’s tender to see how sensually Antinous’s ear is rendered, and, thinking about it mounted beside Hadrian’s bed, it’s hard not to imagine it as a sort of proto-spank bank.",[],{"_key":1137,"_type":502,"children":1138,"markDefs":1142,"style":510},"92e61f9d1f5b",[1139],{"_key":1140,"_type":506,"marks":1141,"text":598},"d30ab2e85a64",[],[],{"_key":1144,"_type":564,"image":1145,"size":570},"dfab66a93458",{"_type":566,"asset":1146},{"_ref":1147,"_type":569},"image-4cb19e6702482392b35fa4b2b387b73cfb50e220-1437x1796-png",{"_key":1149,"_type":502,"children":1150,"markDefs":1154,"style":510},"24e1a98a3ef1",[1151],{"_key":1152,"_type":506,"marks":1153,"text":598},"c265d1d959a6",[],[],{"_key":1156,"_type":502,"children":1157,"markDefs":1162,"style":510},"ec4172cacc43",[1158],{"_key":1159,"_type":506,"marks":1160,"text":1161},"5da0f97f3971",[],"Photographed by Tim Moore.",[],"Adam Eli","https://www.interviewmagazine.com/art/how-sappho-and-kate-bush-inspired-designer-f-taylor-colantonios-venice-exhibition","2024-06-28","Interview Magazine","How Sappho and Kate Bush Inspired Artist F Taylor Colantonio’s Venice Exhibition",["null","__typename",552,"articleRaw",1169,"author",1391,"link",1392,"pdf",10,"publicationDate",1393,"publisher",1394,"title",1395],[1170,1178,1186,1193,1198,1206,1214,1222,1229,1234,1242,1250,1258,1266,1274,1282,1287,1295,1303,1311,1318,1323,1331,1339,1347,1354,1359,1367,1375,1383],{"_key":1171,"_type":502,"children":1172,"markDefs":1177,"style":510},"29cf26f38fb8",[1173],{"_key":1174,"_type":506,"marks":1175,"text":1176},"24040a70c7250",[],"Schiaparelli creative director Daniel Roseberry has collaborated with artist F Taylor Colantonio on a collection of sculptural bronze and silk furniture that includes a chair-lamp hybrid.",[],{"_key":1179,"_type":502,"children":1180,"markDefs":1185,"style":510},"b2e9d4810977",[1181],{"_key":1182,"_type":506,"marks":1183,"text":1184},"981893264af70",[],"The starting point for the creative collaboration was the neoclassical theme of the Toilet of Venus, a subject that was popular in the sixteenth century.",[],{"_key":1187,"_type":502,"children":1188,"markDefs":1192,"style":510},"c2c705d13cd6",[1189],{"_key":1190,"_type":506,"marks":1191,"text":598},"d33f1d3cc4ac",[],[],{"_key":1194,"_type":564,"image":1195,"size":570},"1c28970305ef",{"_type":566,"asset":1196},{"_ref":1197,"_type":569},"image-c3de91bf4d97d5497c3c9412a777abfd5de6292d-1704x2129-jpg",{"_key":1199,"_type":502,"children":1200,"markDefs":1205,"style":510},"e8f5f45a76e9",[1201],{"_key":1202,"_type":506,"marks":1203,"text":1204},"dca9b6343b570",[767],"The daybed was made from raw bronze and has a silk cover",[],{"_key":1207,"_type":502,"children":1208,"markDefs":1213,"style":510},"6d4f61957836",[1209],{"_key":1210,"_type":506,"marks":1211,"text":1212},"94099528a2d10",[],"The Schiaparelli collection includes a daybed and a set of chairs, which feature an integrated lamp, and is produced to order.",[],{"_key":1215,"_type":502,"children":1216,"markDefs":1221,"style":510},"a0f44d27e1df",[1217],{"_key":1218,"_type":506,"marks":1219,"text":1220},"e04fca19879e0",[],"The pieces were made from raw, unpatinated bronze and have been upholstered in silk embroidery.",[],{"_key":1223,"_type":502,"children":1224,"markDefs":1228,"style":510},"bbe79d3cce6d",[1225],{"_key":1226,"_type":506,"marks":1227,"text":598},"ac67b7aa5970",[],[],{"_key":1230,"_type":564,"image":1231,"size":570},"6945bd9a7991",{"_type":566,"asset":1232},{"_ref":1233,"_type":569},"image-e848f47a323a8254f678d9c66bcecbdbd0ca6942-1704x2272-jpg",{"_key":1235,"_type":502,"children":1236,"markDefs":1241,"style":510},"24b2bb448151",[1237],{"_key":1238,"_type":506,"marks":1239,"text":1240},"5a5e0c1331520",[767],"The collection “bears the Schiaparelli imprint”",[],{"_key":1243,"_type":502,"children":1244,"markDefs":1249,"style":510},"7179f8890922",[1245],{"_key":1246,"_type":506,"marks":1247,"text":1248},"cc39df33b6f30",[],"The bronze was cast in Italy using the lost wax technique, a method that involves creating a replica of the sculpture in plaster or clay to make a soft mould into which molten wax is poured.",[],{"_key":1251,"_type":502,"children":1252,"markDefs":1257,"style":510},"d4a2b5e8e424",[1253],{"_key":1254,"_type":506,"marks":1255,"text":1256},"b33c5443441b",[],"The wax is then removed from the mould and placed within a ceramic shell inside a kiln. As the wax melts, bronze is poured into the shell, taking the form of the lost wax.",[],{"_key":1259,"_type":502,"children":1260,"markDefs":1265,"style":510},"de35607dfb4b",[1261],{"_key":1262,"_type":506,"marks":1263,"text":1264},"688516026ccd0",[],"The daybed, named One Long as Twenty, derives its name from an excerpt from a Shakespeare poem about the love story of Venus and Adonis.",[],{"_key":1267,"_type":502,"children":1268,"markDefs":1273,"style":510},"8fb55352dba9",[1269],{"_key":1270,"_type":506,"marks":1271,"text":1272},"718bd2d409970",[],"The corded-silk embroidery with gilded-leather applique was designed by Roseberry.",[],{"_key":1275,"_type":502,"children":1276,"markDefs":1281,"style":510},"f4eadc37a32b",[1277],{"_key":1278,"_type":506,"marks":1279,"text":1280},"81b9b4b9f1a4",[],"The embroidery features two figures, referencing two wooden mannequins named Pascal and Pascaline, the unofficial mascots of the brand which founder Elsa Schiaparelli had married to each other in a small wedding ceremony.\n",[],{"_key":1283,"_type":564,"image":1284,"size":570},"9feae46ede96",{"_type":566,"asset":1285},{"_ref":1286,"_type":569},"image-55171acabb024ff8d24450c355c967bd17d0e48f-1704x2272-jpg",{"_key":1288,"_type":502,"children":1289,"markDefs":1294,"style":510},"cadf3ba02ef3",[1290],{"_key":1291,"_type":506,"marks":1292,"text":1293},"ab4b6bcf4c4a0",[767],"The daybed immortalises Schiaparelli's mascots Pascal and Pascaline",[],{"_key":1296,"_type":502,"children":1297,"markDefs":1302,"style":510},"62b11f5e577e",[1298],{"_key":1299,"_type":506,"marks":1300,"text":1301},"99a9a2f9c4db0",[],"\"I think it's fun to immortalise their [Pascal and Pascaline's] love for one another, like Venus and Adonis,\" said F Taylor Colantonio.",[],{"_key":1304,"_type":502,"children":1305,"markDefs":1310,"style":510},"66e3a3ab1457",[1306],{"_key":1307,"_type":506,"marks":1308,"text":1309},"12901eddc5c60",[],"The chair with an integrated lamp was named Throne for Queen-Moon after a line in English poet John Keats’s Ode to a Nightingale: \"the moon, the queen of the sky, is sitting on her throne surrounded by her stars\".",[],{"_key":1312,"_type":502,"children":1313,"markDefs":1317,"style":510},"04cdfeace285",[1314],{"_key":1315,"_type":506,"marks":1316,"text":598},"2d5554ee089b",[],[],{"_key":1319,"_type":564,"image":1320,"size":570},"6a45ffacd890",{"_type":566,"asset":1321},{"_ref":1322,"_type":569},"image-6a3fcec846cd71c6005fce0b5198c18b24fb3c31-1704x2272-jpg",{"_key":1324,"_type":502,"children":1325,"markDefs":1330,"style":510},"2b2b662182c2",[1326],{"_key":1327,"_type":506,"marks":1328,"text":1329},"1c860780b1a60",[767],"Hand-dyed silk conceals the electrical parts of the chair/lamp",[],{"_key":1332,"_type":502,"children":1333,"markDefs":1338,"style":510},"804b886e9775",[1334],{"_key":1335,"_type":506,"marks":1336,"text":1337},"54ce526dc4be0",[],"Like the daybed, the chair was also upholstered in corded-silk embroidery with gilded-leather applique. The electrical cord of the lamp was covered in ruched hand-dyed silk.",[],{"_key":1340,"_type":502,"children":1341,"markDefs":1346,"style":510},"f2f655c2647d",[1342],{"_key":1343,"_type":506,"marks":1344,"text":1345},"8443acc50b1b0",[],"The collaboration aims to carry on founder Elsa Schiaparelli's association with artists \"to create objects which live between surrealism and functionality, and blur the boundaries of art, design, and haute couture\".",[],{"_key":1348,"_type":502,"children":1349,"markDefs":1353,"style":510},"3850c05ab8f7",[1350],{"_key":1351,"_type":506,"marks":1352,"text":598},"765a39b2a84b",[],[],{"_key":1355,"_type":564,"image":1356,"size":570},"273f0690ddbc",{"_type":566,"asset":1357},{"_ref":1358,"_type":569},"image-a3751ab674f760121874ac5c74298cbe82d8e194-1704x2272-jpg",{"_key":1360,"_type":502,"children":1361,"markDefs":1366,"style":510},"e80d9ef7d33f",[1362],{"_key":1363,"_type":506,"marks":1364,"text":1365},"d9a80d7a267e0",[767],"The upholstery features patches of leather applique for added effect",[],{"_key":1368,"_type":502,"children":1369,"markDefs":1374,"style":510},"8af18df7c7e1",[1370],{"_key":1371,"_type":506,"marks":1372,"text":1373},"cb1424ca4ff40",[],"\"I loved working with F Taylor Colantonio, whose work I have been admiring for years, to create something out of our common interests for mythology and a certain theatricality that still bears the Schiaparelli imprint,\" said Roseberry.",[],{"_key":1376,"_type":502,"children":1377,"markDefs":1382,"style":510},"f4f05008e2d9",[1378],{"_key":1379,"_type":506,"marks":1380,"text":1381},"6a530aa883730",[],"French haute couture house Schiaparelli was founded in 1927. The house's collection of couture gowns decorated with hyper-realistic taxidermied bodies of wild animals.",[],{"_key":1384,"_type":502,"children":1385,"markDefs":1390,"style":510},"03cb6670f6f1",[1386],{"_key":1387,"_type":506,"marks":1388,"text":1389},"b5eee1f69e4f0",[767],"Photography courtesy of Schiaparelli and F Taylor Colantonio.",[],"Tirthika Shah","https://www.dezeen.com/2024/04/25/schiaparelli-f-taylor-colantonio-bronze-furniture/","2024-04-25","Dezeen","F Taylor Colantonio and Daniel Roseberry create surreal bronze-and-silk furniture for Schiaparelli","Rome-based artist and designer",{},{},1775227149703]