Beyond the Visible: Andrea Crespi on Perception, Philosophy & the Future of Art

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_{Andrea Crespi does more than just make art. He is urging people to reconsider their perceptions. Repetition, contrast, and optical effects are used in his works to change perception and encourage a more deliberate, slower style of looking. Often, what seems simple or abstract at first conceals a deeper meaning that becomes apparent only with time and focus.}

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_{His approach combines bold concepts with crisp, precise forms.  Crespi creates a link between the past and the present by utilizing new technologies or making references to classical characters.  A distinct philosophy lies at the heart of it all.  Art should be felt and questioned in addition to being seen.}

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_{In this interview, Andrea opens up about how his concepts take shape, how he uses technology without letting it take over and what it means to be an artist right now in such a fast-moving, digital-first world. It's a look at where visuals meet meaning and how art can keep evolving without losing its soul.}

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1. Your work often employs repetition and contrast to challenge perception. How do you envision these visual strategies adapting with the incorporation of emerging technologies like AI or AR?

_{A. My art is highly recognizable and marked by a strong visual impact. The integration of technologies such as AI and augmented reality has been part of my practice for years. For me, AI is an expressive tool that enhances the creative process without replacing it. It allows me to explore new forms of figuration and push the boundaries of imagination beyond traditional limits. Augmented reality, on the other hand, amplifies the immersive experience for the viewer, projecting my aesthetics into an interactive dimension aligned with the progressive dematerialization of the physical in an increasingly digital world. These technologies do not compromise my artistic language; they expand it.}

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2. In pieces like "Head of Aphrodite," classical forms meet minimalist expression. What drives your reinterpretation of historical imagery, and how does it reshape the viewer’s emotional or intellectual response?

_{A. At first glance, works like Head of Aphrodite clearly evoke a classical imaginary, but they are deeply contemporary sculptures, especially in the processes that bring them to life. Reinterpreting the past is my way of creating connections with the present: the viewer recognizes something familiar but is prompted to see it with new eyes, to question ideas of beauty, identity, and time. Beyond form, these works are born from 3D modeling practices and, in some cases, collaborations with robots. The process itself becomes part of the language, merging memory and innovation at every stage.}

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3. Optical illusions are a recurring device in your art. What compels you to explore visual ambiguity, and how do you see this shaping conversations about reality in an increasingly virtual world?

_{A. I believe many aspects of the reality we live in are, in fact, illusions. Optical illusions are not just aesthetic effects; they are an invitation to question what we see. In a world that is increasingly virtual, where images dominate and often deceive, illusion becomes a tool for reflecting on the fragility of perception. I want the viewer to pause, get lost, and reflect. Because today, more than ever, seeing is not enough; we need to learn how to truly look.}

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4. You’ve described your creative framework as ‘Neosynthesis’—a fusion of the past and future through minimalist aesthetics. Can you walk us through how this philosophy manifests in your studio practice?

_{A. Neosintesi is at the core of my approach: creating a dialogue between history and contemporaneity through a minimalist language. I seek a form of art that speaks to the present while looking toward the future, one capable of leaving a mark on the collective consciousness. Technology is an integral part of my process and allows me to transform the artwork into a dynamic and accessible experience, without ever losing its conceptual depth. Every choice is guided by the pursuit of balance between memory and innovation.}

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5. Many of your works prompt introspection and perceptual shifts. Are there specific philosophical movements or thinkers who inform your artistic lens?

_{A. Rather than aligning with a single movement, my research draws from a transversal way of thinking that questions reality, perception, and identity. Recently, I’ve been particularly drawn to the work of Zygmunt Bauman and his theories on society and liquid love. These concepts are reflected in my reinterpretation of the Amore & Psyche sculpture, where the relationship between the figures is rendered fragile, fluid, and uncertain, mirroring contemporary relationships. In the end, my art stems from a constant question: is what we see truly what is? That is where introspection begins, and that is where I try to bring the viewer.}

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6. Your preference for simplicity stands out in an era saturated with noise. What internal or external criteria guide your decisions about what to include—or exclude—in a piece?

A. In an overstimulated world, simplicity is the only possible response. Each of my works is born from a process of subtraction: I eliminate everything that does not serve the message. I’m guided by internal criteria such as intuition, formal balance, and conceptual coherence, as well as external ones connected to the context in which the work will be experienced. I believe strength lies in the essential: fewer elements, more meaning. Simplicity is not visual poverty; it is a form of intelligence. Because being simple is hard.

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7. As digital platforms and NFTs reshape how art is created and consumed, what responsibilities—or opportunities—do you believe artists now hold in influencing cultural narratives?

_{A. Artists have both the opportunity and the responsibility to contribute to the construction of the contemporary imaginary and to anticipate it. That is why experimentation is essential in artistic practice: it takes curiosity, vision, and sensitivity to intercept the weak signals that foreshadow the social changes shaping the future. Digital platforms and NFTs offer new expressive spaces, but they should not be an end in themselves. They are tools to be used with awareness to generate authentic, meaningful content that can open a deep cultural dialogue with the present.}

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8. You've spoken about resisting the dominance of technology in art. How do you use digital tools as collaborators rather than distractions in your process?

_{A. I believe technology should serve the idea. I use digital tools like AI, 3D modeling, and augmented reality as extensions of my creative thinking, not as substitutes for intuition or artistic gesture. It’s easy to fall into the trap of using them as shortcuts to speed up the process. However, I believe art comes from a deeper need, an authentic urge to express. Those who create art do so first and foremost for themselves, to give shape to a vision. Delegating that entirely to something external would strip the process of its soul and direction, and that is simply not of interest to me. Even when I experiment, I make sure not to be seduced or overwhelmed by technology. I want it to remain a tool, not the protagonist.}

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9. Your exhibitions span diverse cultural hubs, from Milan to Times Square. How do you navigate and adapt your work’s presentation to resonate within such varied cultural landscapes?

_{A. Every cultural context has its own energy, rhythm, and visual language. When I exhibit in different places, I always try to engage in dialogue with the space and its audience without compromising my artistic identity. Adapting does not mean giving up; it is a form of listening. I maintain a consistent language, but I want the work to resonate with the sensitivity of those who experience it. The goal is to build a bridge between my visual universe and the place that hosts it.}

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10. Looking forward, what possibilities or challenges do you foresee at the convergence of art, technology, and society—and how do you hope your work contributes to that unfolding dialogue?

_{A. The intersection of art, technology, and society is one of the areas that interests me most and one I continuously seek to integrate into my artistic journey. We live in an era of exponential evolution, and I am convinced that this will bring new opportunities, tools, and languages to explore, breaking expressive boundaries and generating new ways of experiencing art.
The real challenge, however, is to avoid a superficial or homogenized approach. It is crucial to maintain coherence, vision, and above all, an ethical use of technology. Only then can it truly become a tool for evolution for both art and society and not just another passing trend.}

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