Gio Tirotto

Gio Tirotto


Il fonde son cabinet en 2010. Gio Tirotto développe des projets d'intérieur et conçoit des produits et des accessoires de décoration, en concentrant son orientation artistique d'abord sur la recherche et puis sur la synthèse la plus pure entre forme et fonction.
« Je conçois pour être un pont qui relie la pensée au message, objectif indispensable de mon langage artistique ».
Peu importe ce qu'il dessine, tout naît de l'attention qu'il dédie à ce qui l'entoure, vivant ou inanimé. S'il y a une limite entre l'art et le design, il essaie de l'effacer, en reconcevant toute la complexité existante entre les êtres humains et les objets. C'est la raison pour laquelle il croit que le rite, la mémoire et l'imagination sont souvent la fonction essentielle des choses.
Parmi ses clients : Alcantara, Viabizzuno, Seletti, Secondome Gallery, D'arrigo External Design, Petracer's, Wall&decò, Lago, Bormioli Rocco, Greggio, Mingardo, Exnovo.

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“"I believe ritual, memory and imagination to often be the essential function of things."”

You say in your résumé: “I believe ritual, memory and imagination to often be the essential function of things”. Seems like a good starting point to talk about your work for Wall&decò. For instance, the theme of the seaside can be found in two designs: Perfect Day and Mineralia. Ritual as in the exclusive summer love for the sea that all Italians share? Memory of personal experience? Imagination of an ideal sea?

Standing on a beach in front of the sea, beach and sea, sand and water… it is a scenery made of simple things and yet completely alien from everyday life. I am easily taken away and I figure myself on another planet, thanks to the colors and the textures.

So if the beach is an extraterrestrial landscape, I thought I could observe it from a zenithal point of view, turning it into the perfect background for a pattern created by the presence of man, bringing color as scattered dots in the form of… parasols!

I called it Perfect day, but the black version could easily be called Tintarella di Luna! (Moonbathing – the title of an iconic 60s pop song made famous by Mina - NDR)

The idea behind Cannot Copy is fascinating and lends itself to various interpretations. I wonder, if I were to encounter it in a hotel room, whether my reaction would be positive or negative (all in all, it is a prohibition). The message is very current, but you did put it in a very precise context, both stylistically and temporally, with a date: may 23rd 1980. Is there a hidden meaning in the date? How should the message be read?

That date is an historical reference. The 80s were the years of VHS recorders and the “freeze-frame” that provided the inspiration for Cannot Copy is a sort of testament to those.

Copying in the worlds of design and art is a very sensible topic and, at the moment, an unresolved one.

When I set down to draw or design something, the message is always my indispensable goal: beyond form, beyond technical solutions, is the message – ironic or political is a small matter. It cannot be missing.


A room dressed with one of your wallpapers. Inside, a character from History or Fiction (from literature all the way to movies). Who are they?

A white room, with light grey furniture. A 3000 Kelvin degrees led tube is lighted on and leans on the wall, beside the sofa. The wallpaper is Cannot Copy.  A vinyl of “Honey” by The Jesus and Mary Chain is playing. At the window, Stanley Kubrick looks outside while smoking.


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