WalkAround, 2002. Wood, Plexiglas, steel, paint, and neon, 10 parts, dimensions variable. Courtesy Studio Guenzani, Milano.

Game Theory: A Conversation with Patrick Tuttofuoco

Andrea Bellini: Since your first works, including Famiglia (Family, 1998), Criceto (Hamster, 1999), Scooter (1999), and Otto (Eight, 2000), your method has included the involvement of the public, your friends, and your relatives. Why?

Patrick Tuttofuoco: 
I’m specifically interested in the idea of the group, the nucleus, the organism. Sometimes this is the central idea of my work, and other times it is the process behind it. In this sense, I have collaborated with others, which has allowed me to create a shared energy behind my work; it’s like a kind of team inside of which power and leadership are continually redistributed and change course, affecting the final structure. This energy is as important as my ability to transform it into something like “form, color, material.”