If you are yet to come across the Virgin Mary decked out in Louis Vuitton, an overweight Batman or ET clutching a bunch of Kleenex, chances are you haven’t experienced the artwork of Italian sculptural artist Francesco De Molfetta. His socially relevant and sarcastically timeless pieces, often based off of toys and other pop culture icons, have all the right heads turning. With influences ranging from log cabin interiors to metal LP covers, ACCLAIM were lucky enough to be able to prod the mind of the eclectic creative.

How do you go about putting your pieces together?  What’s your process?

There really isn’t a fixed rule to this. I have various inspirations, various influences.

I tend to think that forms and figures choose me, not the opposite.

I then correct visually and physically what is imagined in my mind. The sculpting always commences from an icon or a character, never from scrap.

Where does your inspiration lie?

From the supermarket to folk and Kitsch art, disgusting home artisanate and useless ‘chinoiseries,’ log cabin decors, small/cheap horror film productions, lowbrow street art, nerd skate fashion, criminal story books and comics, punk rock music and heavy metal LP covers, old improbable forgotten toys and tainted dolls, fast food delis on the highway, dusty old church statues, big truck cabin designs and rare vehicle bonnets. Pop trash in general I suppose. I think our modern world is full of hints and most inspirations can be found in a scrapyard!

How do you relate your location and time in which you’ve grown up in to your work?

I grew up in 1980s Italy: the age of wellness and richness, of aesthetics, shiny icons and political bribes. Everything seemed so wacky and funky; I have memories of a colourful and hyper-tasty lifestyle. It was my childhood; hence my first and most precious memories. That entire era had such a weight in my aesthetical education and sensitivity that in my work it is so clearly visible. I could say that the ‘80s have given me the greatest hints and contribution to my actual imagery.

I get excited whenever I face a reinterpretation of a mythical icon from my childhood, or whenever I see someone who has made artwork on an ‘80s pop culture theme. I get so excited about it that I would want it for me, like a sunken treasure emerged from my childhood dreams. I have interminable chats on ‘80s memories with a close friend of mine – he is an artist, too – we just keep on quoting phrases and figures from the ‘80s!It’s a total pleasure to be tucked into childhood memories.

Most obviously, art is very subjective – what are the limitations of your industry? And benefits?

I think the real limitations of my work and of most artists’ work is that we deal with physical matter and form, but would like to be blending spiritually. The ‘plus-value’ of an art or craft is that it is leverage for a greater message to be passed on, not only what-you-see-is-what-you-get.

I guess the benefits are to narrate the truths of our contemporary society, and at the same time to consolidate men’s vulnerability.

Do you think about the critics’ or the general public’s reactions when you create your work? Or is it an individual based format…

Absolutely not, I always make all the works by and for myself. There is never any compromise, however I’m really happy when the public is appreciative. It’s like certifying the rightness of my ‘vision.’

Anything you’d do differently along the way?

I sometimes look back at older works and think I’d correct some details, or perfect some surfaces, but that’s that and I’m happy things went that way. Knowing the limits of some materials I wouldn’t have passed so much time on some former works, I would have simply changed media.

Your New Idols series plays on iconic labels and recognised symbols – Where did such an idea come from?

New Idols was a big project – a series of sculptures in which popular icons of my childhood and of my generation’s imagery, are re-visited in my way. The idea was to give an updated picture of superheroes and cinema stars as to what they could look like nowadays, when reality bites into the aesthetics of faces, and the passing of time has given another look to forms and myths. Much closer to us, much real, much more ‘humanised’ in their imperfections, and in this way, more ‘friendly.’

Is it stemming from your personal beliefs about popular culture or is it more of a talking point?

I think it tells a lot about me and my own personal pessimistic view. But it’s also the starting point for a new analysis.

Your work has been described as, ‘Bold, holding back no punches…’ How would you describe your style?

Clear, sharp, fascinating, touching, vibrant. I like clear statements.

Ideally, how would you like your work, your tone and yourself to be remembered?

I’d like my capability of synthesis to be remembered, and my visual short circuits. My tone is not only in the form, but even a lot in the way things are said. This is what makes me differ from most ‘others’.

What’s the next step?

Next step? Pop Fiction of course! My new show @ TAG Gallery in L.A. That’s the new chapter of my character restyling sculpture. Enjoy the new anti-heroes…

Finally, who are some artist’s you’re currently following and sense potential from?

I love and cherish many, but if I were to choose only one, Jeff Koons would be the supreme.

See more of Francesco’s work at Officine dell L’Immagine.