FIGURE IT OUT AS YOU GO

WHO ARE YOU, AND WHAT DO YOU DO IN ONE SENTENCE?

I'm Pablo Cantatore, an artist and designer. In 2023, I founded my own design studio, now called Studio Cantatore, which serves as a platform for experimental and socially engaged work. I am currently developing art installations that address contemporary societal issues. I also work on furniture and social projects for public spaces, named the Statiegeldbak.

HOW DID YOU START IN THIS INDUSTRY?

I was around 20 years old when I began practicing. During that time, I was involved in a debate group and creating my own photography work. I then began participating in exhibitions in London and Milan. I got kicked out of the academy, and after 2 years, I founded Studio Cantatore.

HOW DOES A TYPICAL WEEK LOOK LIKE FOR YOU?

It varies a lot. I am currently working on two new art projects and simultaneously managing two design projects. One of them is a new series of tables. So it is at the moment a lot of writing, meetings and drawing!

WHAT’S THE BEST PIECE OF ADVICE YOU’VE EVER RECEIVED?

You need to be careful about who you want to work with, but you should always stay open to new people, their ideas, and put everything on paper.

WHO IS ONE PERSON YOU LOOK UP TO CAREER-WISE?

I admire several photographers like Platon and Erwin Olaf, designers like Steve Jobs, musicians like Dominic Miller, and politicians like Nelson Mandela. It might seem like a funny mix, but they all use their medium to connect and express what they want to say. They are people who aged well, and their mediums helped bring them to where they are.

WHY DID YOU DECIDE TO OPEN YOUR OWN STUDIO IN 2023, AND TO WHOM IS IT OPEN?

It feels like a natural progression from my past activities, such as my debate platform and the work I’ve done before. I see it not as a commercial venture but as a space where different media and people can collaborate. The people I work with are diverse: writers, painters, musicians, photographers, and individuals involved in politics. My studio is a place where these groups come together to work on various themes.

WHAT IS YOUR CREATIVE PROCESS LIKE?

It always begins with jamming on some instruments and sipping an espresso. Then I review my schedule and important tasks. Having a studio means dealing with calls and bills that need to be paid. Once those are out of the way, I start writing about my projects. Sometimes I skip the boring parts and jump straight into the most enjoyable tasks. Juggling multiple projects and deadlines leaves me feeling overwhelmed sometimes. In those moments, I take a short nap on the sofa, which is quite nice when you have your own studio!

HOW DOES THE HUMAN BODY IN ''COLOR MAKES SENSE'' SHAPE THE PERCEPTION OF YOUR WORK?

In "Color Makes Sense," the use of the human body adds a deeply personal and relatable dimension to the installation. It serves as a familiar canvas that grounds the abstract concepts of color, sound, and scent. The body acts as a bridge between the viewer and the multidimensional experience, humanising these abstract ideas and fostering an emotional and intellectual connection. As a recognisable form, the body provides a visual anchor amidst the vibrant colors and abstract elements, helping viewers navigate the artwork. Its inclusion enhances sensory engagement, transforming the installation into a dynamic interplay of senses, inviting spectators to explore their own responses.

CAN YOU SHARE A PROJECT THAT DIDN'T GO AS PLANNED AND WHAT YOU LEARNED FROM IT?

I’ve experienced many such instances, especially early on when I was naive. I learned that words need to be carefully written and reviewed multiple times to avoid misunderstandings that can block a project or collaboration. In the end, many setbacks stem from communication issues. I now prioritize clear communication and checking everything thoroughly. I believe that everything that doesn’t work out as planned is often due to miscommunication. So, communication truly is the KEY.

WHAT DOES “SOCIALLY ENGAGED DESIGN” MEAN TO YOU, AND WHY DO YOU THINK IT’S IMPORTANT TODAY?

To me, "socially engaged design" is about fostering a sense of ownership and responsibility within society. In today’s world, we often have access to everything we need, yet there is a disconnect; we don’t always feel like these things belong to us. This is evident in how we care for our clothes, furniture, and public spaces. Everything is for sale, but rarely made for repair. My work aims to bridge this gap by encouraging emotional connections to our surroundings. Projects like the Statiegeldbak and my new table designs focus on engaging people with the purpose and reasoning behind their creation. By doing so, I hope to inspire a deeper appreciation and responsibility for the spaces and objects we interact with daily. I genuinely believe that if we designed objects in a way that people embrace more, we would generate less waste and take better care of what we buy.

WHAT ROLE DO YOU HOPE YOUR CREATION PLAYS IN SOCIAL DIALOGUE OR CHANGE?

I think one keyword for it is "awareness." I want people to think in a way that doesn’t tell them what to do, what is good, or what is bad. Instead, I want to encourage reflecting and seeing things from different perspectives, which can help shape their own opinions more thoughtfully.

HOW DO YOU THINK ART AND DESIGN CAN COUNTER POLARIZATION IN TODAY’S SOCIETY?

They have always done so, and they always will. Art and design are connected to emotions, and polarization is too. Artists can use their mediums to highlight certain aspects and create a composition, something to bring to the front and something to recede into the background. This approach can foster dialogue. Particularly, to soften or make challenging topics easier to discuss, similar to infographics on IKEA products. Graphics, photography, and other mediums have the power to simplify complex issues, making them more accessible for more people. The more people you engage with, the less polarization you tend to see.

WHAT ARE YOUR PROFESSIONAL GOALS FOR THE NEXT 3-5 YEARS?

I want to focus on my photo series and sculptures, working with a small, impactful team that together can bring value to society.

WHAT SKILLS ARE YOU ACTIVELY WORKING ON IMPROVING?

I’d like to get better at Excel—haha. It would be pretty helpful to understand it more deeply. Right now, I often need to ask others for overviews of my work, which works fine, but I’d prefer to handle that myself. Additionally, I want to understand lighting better, as it helps with everything. I do understand light, but there is always more to learn from it.

ARE THERE COLLABORATORS YOU DREAM OF WORKING WITH?

I would love to work on a project with an orchestra, creating art that dialogues with the composers of that orchestra.

WHAT ADVICE WOULD YOU GIVE TO YOUNG CREATIVES STARTING IN ART?

Start, just figure it out as you go. Try to work alone as much as you work with others. Create as much as you can, and always put things on paper when you work with people. ( and let it get checked by professionals).

If you want to know more about Pablo, give him a follow on Instagram