Tell us a little bit about yourself and what you do.
Hey my name is Piero Penizzotto, I’m a Peruvian-American sculptor born and based from Queens, NY although I also spent my teenage years in South Florida as well. I like to build stuff with my hand, teach art at a middle school in the Bronx, go indoor rock climbing when I can and play video games on occasion. My main medium is paper mache and I’m dedicating my practice to depict the people in my life.
Are there any influences that are core to your work
There are many influences; my family, friends, my students, my local community, my country. I like being involved in multiple settings where I talk to all types of people. I’ve always been curious to learn more about the world around me, the people around me and how we all interact with one another. Also I’ve been getting more in tune with nature; the sunrise/sunset, lakes, oceans, wild life, even though I haven’t depicted nature in my work yet, I’ve taken a great appreciation for it as someone who spent most of their life in urban environments. I’m at a stage in my life that I just want to dedicate as much time as possible to what it is to be human. Which is something everyone wants but a privilege that only a few have, but I don’t want that notion to discourage me from obtaining that.
What is something you want to see more of in your world or in your community?
More love, honestly, I know that sounds a bit too simple of an answer, but I think everyone can agree that we’re all just tired from all the noise and injustices that are going on here and abroad.
Were there any formative memories to your identity as an artist?
The Covid lockdowns were a turning point in my life when it came to figuring out how I can do sculptures from home. At the time I was going to Hunter College creating sculptures out of wood and metal, but when we switched to remote classes I struggled at first with how I can create large scale sculptures from home. I was also working at Whole Foods at the time and noticed this magazine that they ran that nobody grabbed and would often get thrown away for the next edition. So I started collecting them, bought some wood glue and turned my bathroom into my first studio. I realized then that no matter what obstacles life throws at you it’s only up to you to find the solution, and even if it doesn’t turn out exactly how you’d expect it, learn from those experiences and move on. Don’t stop your momentum.
Describe your current studio or workspace. (Please provide a photo if you have one.
I only had a proper studio back at Hunter, since I’ve graduated I couldn’t really afford studio rent, a storage unit, and regular rent simultaneously, so I’ve managed to make my work from home. At times my crib does turn into a weird house party lol
Do you have any rituals when you begin working on a piece, whether that be during the initial design process or when you begin a working session?
Most of my ideas come to me while I walk my dog, it’s the few moments I have to myself. I usually walk 2-3 times a day with some of those walks going up to an hour. Once I have an idea I want to execute I have to make a calendar for myself and set up daily goals on what section of the sculpture I want to focus on. It can be daunting at times on how I can possibly finish these pieces within my deadlines, but these small accomplishments add up and soon the whole piece is complete. I’m often listening to podcasts, audiobooks and music while I’m creating.
You sculpt using papier-mâché, foam and acrylic. How were you introduced to these mediums, and what do you appreciate about using them?
I feel like paper mache has a unique quality to it that I couldn’t achieve previously from wood and metal. The surface texture, the ability to change the positioning of the sculpture on the fly, how light it is compared to other materials, how accessible it is, had it not been for paper mache I’m not sure if I would’ve been able to flesh out the ideas I’ve been holding onto.
You often sculpt people from your personal life. How do you choose which gestures to place them in, and are the positions that they’re in reflective of who they are as people? Do you ever sculpt people you don’t know personally, and if so, how do you choose who to reference?
I take a lot of time beforehand on how I view the person I’m depicting, showing them the light that I see them in. My works aren’t a one-to-one copy of a specific moment that previously occurred but rather a culmination of multiple memories, and it’s not to say that once I depict someone in one way will it be the only time I do, I have many scenarios I want to create. So far I haven’t sculpted anyone I don’t know yet, but eventually I want to explore depicting my local community. I often people watch on my daily commute and there’s a lot of important imagery I want to highlight through a future body of work, hopefully soon.
Audio interviews with the people you’ve sculpted have been a research and contextual component for your 2023 show at White Columns in New York. How does this influence how you compose your sculptures? Have you continued to interview subjects when initiating a new sculpture?
I love conversing with people on a deeper level and I wanted to find a way to incorporate that in my work, although I didn’t include that aspect into my latest show at Primary, it’s still something I want to explore more in the future, possibly even video as well. I’m very much interested in having a continuous dialog between myself, the people I’m depicting and the viewer by also hosting artist talks, workshops, group discussion panels, etc.
Your show, Good Company, just opened with Primary Projects in Miami. How does this body of work build on what you’ve been working on in your practice?
Good Company is dedicated to my close group of friends, who I consider my second family, that I grew up with since middle school. I’d say this show goes hand-n-hand with my show at White Columns which was dedicated to my immediate family. Although my work is really personal in who I’m depicting, my message is universal in that I’m hoping that when people view my work they will reflect on their own loved ones and make the effort on strengthening those bonds that they have and to also be there for the person who doesn’t have someone to lean on. I’m a reflection of the people who’ve shaped me in becoming the person I am today so I’m left with asking myself how I can be in service to others, whether it be through my art, my teaching, or as being a friend.
What is your experience like as an artist living and working in Queens?
I love Queens, I was born in Forest Hills and now I’m currently in East Elmhurst. Previously I’ve spent a year living in Brooklyn and the City but I’d say I feel more at home in Queens, words can’t truly describe how I feel about Queens lol. But unfortunately it’s been hard going to shows and seeing friends often since they’re mostly in the City and Brooklyn which usually takes an hour plus to and from. My teaching job is also in the Bronx which is another huge commute. I plan on moving to the Heights beginning next year.
How does your creative community now compare to your creative community when you were younger
Back then, growing up in Florida it felt like an island, eventually you want to explore what else is out there and thankfully I’ve surrounded myself with a lot of creative people back then in which we collectively moved to New York in 2019. Since moving back up here I’ve met a lot of talented artists through Instagram and going to openings, and it’s a solid community lol. I’ve met artist of all walks of life and we all want what’s best for each other.
What is one of the bigger challenges you and/or other artists are struggling with these days and how do you see it developing?
I’d say that at the beginning of my career, Florida didn’t have many opportunities for the artists that lived there, which was the main reason myself and many others moved to New York. Although some progress has been made since then, I think Florida and many other states would benefit greatly culturally if they invested more into their local art communities.
Is there an area that you would like to explore further in your practice?
There’s a lot of areas I want to explore, be it installations, happenings, public art, children’s books, animations, I have many projects I want to get started on soon.
What do you collect?
I like to collect artist books. I’ve been building up my library for quite some time. The latest artist I’ve fallen in love with is Richard Mayhew who unfortunately passed away recently. Check out “Transcendence”. I’ve also been getting into digitizing old family videos. Collecting old and new memories through video and photography is a personal practice of mine that I like to do.
Portrait photo taken by @key.lenz_
Interview conducted by Luca Lotruglio