For the ninth episode of IN STUDIO, we visited the studio of Simone Brillarelli, born in ’82, a versatile creative living and working between Milan and Rome. He defines himself as a visual artist, film director, and 2D animator specialized in advertising production, engaged in the field of digital communication and the world of music videos. His artistic production revolves around a combination of rotoscope and more traditional animation techniques. In other words, not only large brushes, oils, pastels, and similar elements but also digital components that introduce a new way of interpreting reality.
The studio
We find ourselves in the Porta Romana area, and Simone Brillarelli’s studio is orderly in a simple yet functional space. His approach could almost be described as nomadic, and during this interview, he emphasized the importance of traveling light—few tools, but the right ones. Brushes, oils, and pastels are present, as well as canvases and ceramics bearing his signature, all distinguished by his unmistakable style.
Who are you, and how does your research develop?
I work as a visual artist after a conventional path in the Academy of Painting, followed by Animation studies. My research has refined itself, allowing me to work on both animated music videos, experimenting extensively, and on drawings and ceramics. In recent years, my work has evolved, attempting to find a balance among all the things we have just discussed. In short, mine is a poetic of stratification.
What are the mediums you prefer, or which ones do you favor?
Coming from the world of graphics and music, I can say that all my mediums are important to me, and it depends on the goal, allowing me to choose based on the direction I want to go. Working with so many elements certainly never gets boring.
Which object cannot be missing in your studio?
Considering that, for me, the space must be maximally functional, without distractions, the only thing that cannot be missing is music. But not only that, also the thoughts that sometimes fill the room a lot.
How do you experience your studio?
I experience my studio intermittently. I can have long sessions for three days, alternating them with work on the computer. The practice of painting – from my point of view – is not something to be pursued on a daily basis. Specifically, however, we are not talking about inspiration but rather a predisposition to work in the studio at a particular moment.
Do you create preliminary sketches before making a piece?
I create preliminary sketches only if it is requested. Regarding my work in the studio, I try to let everything flow without thinking too much about what I put on the canvas or ceramics. I work a bit like a jazz musician.
What is one of the projects you are most attached to?
The project I particularly love is The Blender by Lavazza, in collaboration with Yam112003. For the digital magazine, I handle illustration and animations. I really appreciate the direction it is taking, the audience it addresses, and the freedom I have in various sections. Moreover, I also create animations for them, which is exactly where I come from, so from my perspective, it is a very comprehensive job, spanning from branding to moving images.
