May 28, 2021

By Teddy Hwang

Kuhle 3, ​Giclée print, 88x107cm, 2021

Hi, Luciano. Could you introduce yourself to the Art Terms Magazine readers?

I was born in São Paulo and currently living and working in Rio de Janeiro - Brazil, I started with the oil painting technique at the age of 18. Currently, my production in visual arts covers painting, drawing, photography, video and urban. In 2008 I founded the art collective Fuso Coletivo (Cian + Kjá), which consists of the interaction between different platforms and artistic languages.

I participated in exhibitions in Brazil and abroad: MuBE Brazilian Sculpture Museum - SP, CCJF Cultural Center Federal Justice - RJ, Parque Lage - RJ, Espace L - Geneva - Switzerland, Contemporary Collector Gallery - RJ, IED Istituto Europeu di Design - SP , Pretos Novos Gallery of Contemporary Art - RJ, Museum of Images of the Unconscious - RJ, National Post Museum - Brasília, among others.

My works were acquired for private collections in Brazil, USA, United Kingdom, France, Australia, Germany, New Zealand, Hong Kong and Peru.

Moa-#9, ​Giclée print, 76 x 96 cm, 2021

Where do you get these fabulous inspirations from?

My inspirations come from different places. But I usually have a great eye for cities, objects, shapes. Architecture and visual art itself are my main references.

Tell us about the Giclée digital printmaking? How did you discover it?

I worked for a long time as an art director and designer in advertising agencies. Because of this work, I had a lot of contact with graphic production and followed the evolution of technology that involves this market. When I realized that it was possible to make very high quality prints - which owe nothing to old techniques like engraving or silkscreen, I decided to do some tests. Nowadays, in addition to the quality of the printing, the range of papers is huge, enabling many impression solutions. With that, I envisioned the possibility of entering this market through my drawings.

Magna 7, ​Giclée print, 90x110cm, 2021

What’s the biggest strength of digital printmaking compared to other art?

Digital printing accelerate product creation processes. Analog techniques are sensational, but require a longer production time. I believe that digital art is an excellent tool to democratize art. I would not compare the other art forms because each has its space, its strength, its purpose. But, as I said, digital has opened up another horizon. And this is fabulous.

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The simple lines, bold colors, and geometric shapes truly grabs my attention. How did you build up your own style of art?

I have been drawing and painting professionally since I was 18 years old. Since then (I am 47 years old) I have done very different things, many tests, I have explored many different paths. I believe that I arrived in this style after condensing what worked over the years with what pleased my eyes the most.

Geo 1, ​Giclée print, 80 x 96 cm, 2020

The use of color is bold and vivid. What’s the standard of your choice in using colors?

I like strong color, spiced food, hopped beer... Maybe I'm an exaggerated, dramatic person. The use of strong colors comes from this overdone place. But it also has to do with the fact that I live in a vibrant country. In addition to nature, with its colors, we have carnival, strong music culture... All of this is very vibrant. I believe that I incorporated these aesthetic “screams” for living in a fantastic and complex place.

Ville 7, ​Giclée print, 76 x 96 cm, 2020

Geometric shapes are one other impressive details in your artwork. How did you start to get familiar with using geometric shapes so well?

I always liked geometric shapes, but I went deeper into the subject by studying the concrete and neo-concrete visual arts schools in my country. Modernism also influences me a lot. Brazil has an architecture style that used geometry in a sculptural way. To incorporate these references in my work, I used collage techniques, experimenting and deconstructing these already established forms.

Luciano Cian in his studio

The message in your art to show the strength of contemporary women is powerful. What’s the essence of being an artist?

I work with women because I see strength in them. The essence of an artist is to move on an imaginary line, in a parallel world, seeking to experiment, mix, test without prejudice. It means being open to the most varied discussions.

You explore different ethnicities and the diversity of the races through artworks. How do you want the audience to enjoy your artworks?

At first there is no political concern in these works, but, in any case, this diversity ends up sending a very obvious message: that we are all in the same boat. Although the world has evolved absurdly in the last few decades, we have experienced many setbacks, especially with regard to the equality of colors, races, beliefs, sexuality. I really can't understand how there are still groups that try to fight the natural order of things. We have been through terrible times in the recent past and there are many people who seem to ignore history. So, I want people to see shapes, beauty and lightness.

Kuhle 4, ​Giclée print, 88x107cm, 2021

How do you define art? What does art mean to you?

My art is light, colorful, up. But art in general serves as a distraction from reality. It is a pause in the weight of existence. It's poetry.

Do you think it is important for artists to add to the commentary of social issues?

Always, but not mandatory. As I said before, all art is political, however much it does not address specific points. Art is also a form of expression, of communication. Thus, it is inevitable that art talks about urgent issues.


Having a lot of followers on Instagram is not easy. Do you have any tips for young artists who are trying to promote art online?

It is better to have a good network, however limited, to have millions of followers. We live this hunt for likes, this madness of social networks. This is all fleeting, futile. What matters most in networks is to position yourself properly. That is, define a strategy and move forward without looking too much into the rear view mirror.

Luciano Cian in his studio 

Do you have your own routine or habit when working on the artworks?

Yes. My routine always starts with research. I try, as far as possible, to produce every day. It is essential to establish a rhythm of production. Arts, like any other activity, requires practice. And improving practice is infinite.

Where do you want to travel after the COVID-19 situation officially ends?

There are so many places that I don't know how to number. I really want to get to know different, distant cultures. I would love to go to any country in the Middle East. Guide you as a whole, seduce me exactly because it is different from what I am used to. Luckily, I’ve traveled a lot and the most special places I’ve been to have been countries where I’ve seen things I’ve never seen before. Food, colors, people, races, beliefs, landscapes.

Moa-#7, ​Giclée print, 76 x 96 cm, 2021 

Do you have a Brazilian artist that you recommend to the viewers?

Many... Tarsila do Amaral, Hélio Oiticica, Athos Bulcão, Abraham Palatnik, Cildo Meireles, Cândido Portinari, Campana Brothers, Roberto Burle Marx…

Is there a new series that you want to try?

I am currently studying to return to analog production. I'm not going to stop with digital art, but I want to diversify my production through painting.

Magna 3, ​Giclée print, 90x110cm, 2021


Thank you so much for taking the time for the interview. Would you like to say something to the readers of Art Terms Magazine?

Let life take you, wherever you go.


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