Baldassarre Ruspoli’s body of work stems from the conviction that “creativity goes hand in hand with the beauty of nature.” Raised in Florence, in an incredibly stimulating environment which saw his everyday being defined by an intrinsic relation to the natural environment of the Tuscan countryside, Baldassarre began to develop an interest for the creative potentialities that lie within the ambiences we inhabit. His practice began at an early age when he joined the Istituto d’Arte di Porta Romana , an Art Institute in Florence that provided him with a formal artistic training through exercises such as figurative drawing, painting and sculpture. In his view, such formal teaching is essential for it provides a basis and knowledge necessary to the development of one’s own practice; it generates a stable ground from which to depart and expand, without fear, into a variety of unexplored fields.
London is the first major city he has found himself living in and he believes this change of surrounding to have very much influenced and deviated his line of thought in regards to art making. Baldassarre’s freedom to explore new creative possibilities was not only augmented by the multifaceted metropolitan environment but also by attending the joint honours degree in Fine Arts and History of Art at Goldsmiths university.
The liberty of Baldassarre’s body of work is exemplified by the fact that he does not stick with one particular practice. The idea comes first and then the method and medium. This characteristic renders his creative output fluid and progressive, it is not linear but rather investigational.
Having experimented with the photographical medium and the immersive qualities of painting, he has now embarked in the exploration of what he likes to call “construction pieces” rather than installations. These could almost be understood as phenomenological investigations of the ways in which we perceive a “space.” The latter, through Baldassarre’s artistic interventions, is shown to be constantly alterable and changeable as opposed to static. The physicality of a body, which enters these construction pieces, sheds light upon the mutable nature of space. As if body and surrounding were mutually defining each other. Space ceases to be understood as an object, or a setting in which things are arranged and becomes the means whereby the position of things is possible. Contemporaneously the subject is revealed to be acquiring knowledge of his essence by letting his body rise towards what appears to be an invisible curtain of strings. These are “construction pieces” for they show, in Heideggerian terms, that our being-in-the-world could be understood as an act of constant building, an oscillation between the external object or space and our inner experience of it.
(All images featured in this article are the intellectual property of Baldassarre Ruspoli)