We had the honor to host the international artist Teddy Delaroque in our operational headquarters in Motta di Livenza. Designer, painter and sculptor recognized by Akoun and Artprice, respectively the world leader in art market information and the ultimate reference for databases on art quotations and indices.

The French creative, famous for his works inspired by the iconic lines of Supercar and Hypercar, visited the town of Livorno. He brought with him one of his famous fauteuil (armchair), directly from the exhibition at Forte Belvedere in Florence, the fabulous Armchair BULLDAYS. An author’s proof realized for the Bull Days.

A meeting that is part of a cross-sector strategy to enhance the territory. Synthesis of synergistic development between creatives, a real propeller of innovative ideas, able to leave their mark and open new forms of tourism.

Together with sport, as evidenced by the communication project of the candidacy of Motta as European Municipality of Sport 2023, art also becomes a privileged medium to reactivate places and cities.

Contemporary art now tends to go beyond traditional spaces, to populate public areas and non-conventional locations. Transcending the mere object character, materializing in synaesthetic and performative experiences. The typical work of art of our time has overcome the idea of finiteness and immutability, configuring itself as a thought device, a dynamic site-specific intervention capable of transforming the viewer into an active user.

This is how the visit to Motta di Livenza by the French artist Teddy Delaroque can become the start-point to design communication projects aimed at enhancing the beauty of the Opitergino-Mottense area. Confirming the new trends of tourism and international business, inclined to be based on this line, now consolidated globally.

How did the friendship between you and Stefano Cigana CEO of Venetia Communication start?

We have been friends for over three years. He had been highlighted my work as an artist by his friend Fabio Lamborghini, so he contacted me to participate in the Bull Days, of which I am part from 2019, for the editions in Tuscany and Monaco.

The first work you brought to Bull Days was your famous sculpture of the Bull, in resin painted in gold, inaugurated on July 7, 2019 during the Tuscan edition. What do you want to communicate with this, the bull as symbolic?

For me, the bull is the animal that most directly expresses power and strength. I love to read in the eyes the effect of astonishment and the mixture of emotions of those who for the first time approach the bull, which triggers the exclamation “Wow!”.

Another of your emblematic works is the “Fauteuil” (armchair), the work you brought to Motta di Livenza, where colors and decorations vary while maintaining the form.

The shape is designed on harmonious lines, without hardness and very aesthetic. It is adaptable to all kinds of environments, such as: interior decoration, restaurants, hotels, luxurious residences, swimming pool edges.

People can order it in the desired color, otherwise it can be created on art patterns, making it as a painting. Upholstery can also be customized, with respect to the fabric and color of the stitching, as well as the identifying embroidery. Similarly, the decoration of the pedestal can also be declined according to a preferred style.

What was the spark that sparked the “Fauteuil”? Could it be motoring?

Actually, the curves are quite sporty!

To build such an armchair, you start with a sketch, followed by a prototype that I then place in my home. Where I begin to walk around it all day long. Observing it in every facet until I get the artwork perfect. In total, fine-tuning this “shell” took three years. To think about the design, to get the perfect aesthetic line. As well as to define the 360° rotation structure, with the car’s ball bearing system.

Looking at you sitting in the chair, it seems to see a man gathered in an egg, making a chair a personal place.

So, the egg is inclusion and it is the beginning, the origin of life….

In your family, your father was a sculptor and stone carver, while your mother was a professor of drawing at the Academy of Fine Arts. So we could deduce that your life went from the “egg” immediately to art.

My father initiated me into sculpture as a child and both of them into painting. I then worked in the same company where my father worked, for the restoration of historical monuments, creating sculptures in churches and palaces. In particular for several religious buildings, as well as for the City Hall, in the city of Lilles (in northern France), I was about 23 years old at the time.

Did your father have the opportunity to discover you for the artist you have become today?

Yes, maturing the artistic vein, in the years following our working together, I undertook design studies in Switzerland. Until I started exhibiting my first works of art that my dad was actually able to see.

What is your relationship between contemporary art and design? What artists do you draw inspiration from when researching before making your artwork?

My reference artists are Kandisky and Picasso, while for design I look to Charles Eames. Thus creating a style completely my own, in which painting, sculpture and the art of design come together.

What is your relationship with Italy?

I love Italy, because of the mentality of its inhabitants, which is totally different from France. I really love it!

Thinking about the destination of your work “Fauteuil BULLDAYS”, in Motta di Livenza, at a communication company, such as Venetia Communication, what is the meaning of this choice of installation?

I really appreciate this question which allows me to thank my friend Stefano Cigana for the esteem, consideration and loyalty he shows me. It is assumed that a work of art can be anywhere, since it is created to be seen. There are places where it can be exhibited to receive guests and clients of a company, as a sign of style and to give a particular vision of life on a mental level to the people who enter the office. For me, art does not have the distance of money. Whether one is poor, rich or very rich, the artwork should be visible for everyone.