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All Smiles, mixed media series, 2022
With The New Artist Fair

All Smiles, a series of paintings, collages and digital artworks were displayed at the Truman Brewery for the 2022 New Artist Fair; an event which showcased over 90 upcoming artists from around the world.

The selected pieces’ style seesaws between pop/street art inspirations and digital collaging often combining these two methods to result in the work. My interests in using icons and found materials coincided with the expressive backdrop scene painting or placement of pictures. The making process of a lot of these works also used digital mediums to build compositions and explore the colour palettes. When art is made through the combinations of different mediums, it has the potential to reinvent itself and exist in a different light. I referred to old exhibited work and archival pieces to spark direction for some pieces. Some work that featured in an exhibition with VirtualArtists was seen on this event along with newly made work continuing this style of colourful backgrounds with graffiti art inspired features/expressions. 

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Artwork by Alex Cazzato on New Artist Fair website

Untitled painted series, 2022
With VirtualArtists

The displayed works Waasssuupp, 2022 and Daisy Chains, 2022 are part of the online exhibition Arbitrary Chemistry, media and art in progress with VirtualArtists. For the displayed works, I gathered different puzzles and crosswords; the patterns and straight edges, slightly regimented look opposes to the lucid style of painting of the backdrops. In Waasssuupp the crosswords are like tiles, they pop out of the background colours whereas in Daisy Chains they along with smiley faces and flowers have been engulfed by the flowing colours. 

Untitled painted series, 2021
With VirtualArtists 

The Untitled series of paintings featuring as part of VirtualArtists 5th Art For Art’s Sake (AFAS5) online exhibition. For this series I took inspiration from emojis and a lot of text character expressions, as well as the Acid House Smiley. I initially made digital renditions of happy and sad faces on colourful backdrops revisiting my collaging of object images for poster commissions made in 2020. 

Clouded and psychedelic patterns with bold iconography on the computer developed to creating equally bold backdrops in aim of over doing the digital image. At the time of making these paintings I was invested into the work of Keith Haring and Roy Lichtenstein, which inspired me to practice with a Pop Art style of painting. Instead of using computer artworks to portray cleaner cut versions of the original ideas as sketches, it had a much more direct impact on the physical painting style.

Previously writing about the art of Howard Hodgkin and Sean Scully in my dissertation on digital to physical art, the collaging of objects transitioned to the collaging of lines; there was a level of influence taken from Scully's style of dividing the canvas through
shapes and balancing colours within their lines. A back and forth motion between digital to physical art and art spaces was the overall discussion within my essay and that practice was used to make this series of work. I made designs on the computer to then bring out
of the screen. For mixed medium works it is fair to say the refinement and uncertainty to be completely abstract suggests that the
paintings want to portray themselves as digital artworks rather then physical, the irony being the artworks are featured in a virtual space. 

With SKT Gallery

Minerals and fuels to power factories providing things for our consumption. Ontogeny, 2020 exists as factories that keep functioning after humans disappear. The machinery running itself, eludes to the making of a digital and physical cross breed of human using its knowledge gathered from what used to facilitate it. The imagery collides when displaying operations and machinery with video game clips from Life and Death, 1988 and Fallout 1, 1997 as the digital side interprets almost copying the physical activities of operating and farming. Visuals often overlap with certain noises in the soundtrack attaching to an image like the repetition of sparks, a pickaxe and a beating heart. As the song intensifies so do the visuals. 

The sound design is inspired by industrial hip hop, noise music and digital hardcore. The sounds used are heavily exaggerated through varying types of distortion compression techniques (primarily from an Electro Harmonix Russian Big Muff, manufactured in the USSR in the 1990s). Both digital and analogue sound synthesis is used, blending digital synthesis with overly saturated analogue drum machine sounds with the aim to exaggerate the inherit qualities of both digital and analogue sound. 

The final segment leaves the granular cuts to enter a more angelic or reflective state with pillow fluff transforming into clouds as the viewer is taken to another space a possible presentation on the transitions into the after life. 

Video editing by Alex Cazzato.
Music by Graeme Smith.

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SKT Interview with Alex Cazzato and Greame Smith 
SKT Artwork 'ONTOGENY' by Alex Cazzato and Greame Smith

Pink Breeze, 2020 
With Oddball Gallery
Locked-Down virtual event

Pink Breeze featured in Locked-Down Virtual Event. A collaborative video project between Alex Cazzato and Greame Smith including a separate painting by Alex. The video piece displays drifting shots of a tree decorated with pink flowers. The cameras movement and quick changes into kaleidoscopic sections where the video is repeated and overlaid works with the melody and bounce of the Pink Breeze track. 
The acrylic painting used broken Cds, covering the canvas; their sonic uniqueness stripped away to become a tool objectively creating a textural layer for the painting. The Cds on the canvas visualising the transitions from analogue to digital as a musical experience; flowers unfinished with gaps creating this sense for delay in time. 

Wheels to Water, 2019
Petrie Museum in collaboration with Central Saint Martins UAL

A collective group of Fine Art CSM students showcased artworks with UCL's Petrie Museum, home to over 80,000 Egyptian artefacts with the artworks taking inspiration from the Gurob Boat. The boat model excavated in 1920 by W.M.F Petrie uncovered clues to the identities and cultures of the enigmatic Sea Peoples and that the oared ship was used by Bronze Age Mycenaean Greeks. 

My submitted piece a video titled 'Bodies over Boats' 7 minutes. Depicting the recreation of the Gurob Boat through a modernised digital lens; using internet as a tool to search and re-build this model boat; a digital age excavation. This is combined with a series of shots taken of the Brighton West Pier which burned down in 2003, remains a metal shell of what used to be a concert hall. The pier distorted runs back and forth with a glitched selection of documentary clips taken of boats being made  by native tribes in Ethiopia. The video clips showing the construction and functions of the papyrus made boats. Throughout Bodies over Boats, flashes of oil pastel drawings inspired by the museums array of pots, tools and weapons to tie together this visual piece. 

*Other past exhibitions and collaborative projects can be seen listed on About 

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