The term “artistic taxidermy” refers to an unusual form of taxidermy that differs from traditional taxidermy and decorative (artistic) taxidermy in that it offers taxidermists or artists the opportunity to create different shapes and meanings from a material that, according to classical standards, would not normally allow for such variations. In reality, taxidermy in itself is already a complete art form, so the addition of the word “artistic” only serves to emphasize that there is a variation from a naturalistic preparation. In recent years, this form of artistic expression has gained popularity once again. The productions in this field are very different from each other and are the most diverse and extravagant. In my opinion, the term itself is used improperly. It ranges from the creation of costume jewelry and home accessories to animals dressed as dolls, chimeras, and much more to compose what is now called Rogue Taxidermy, to actual works of art with very high content and levels of communication. Opinions on this “art form” are diverse and conflicting.
Many critics are heavily opposed because they believe it is disrespectful to animals to use their bodies and skins for any purpose, let alone for artistic ones. Other comments and opinions are decidedly in favor of this art, finding these artistic productions interesting, fun, fascinating, and culturally enriching. There is something for every taste and every interpretation.
Personally, I began creating pieces of “artistic taxidermy” almost by chance. In fact, I started this trade as a naturalist/taxidermist. My personal inclination to transfigure taxidermy into something artistic was born by chance. During periods of little work and after years of experience, I tried—partly for fun, partly to experiment, and partly to defuse the grim daily reality of a taxidermist—to give life to fantasy creatures, initially using only workshop scraps. By scraps, I mean unused pieces of skin, bones, remnants from other work, etc… I tried to give life to my thoughts, my imagination, my darkest visions, my secrets, my desires, and my brightest ideas, and I transformed it all into fantastic animals. The objects took shape almost spontaneously. I have never been inspired by any of the preparators of the past, nor those of the present, let alone the type of taxidermy that is so fashionable today, Rogue Taxidermy, where pieces of animals are assembled to create purely decorative objects.
As a taxidermist, I discovered the more artistic side of this profession, in a journey of research that went far beyond what appears to be the mere ability to embalm animals. The need began to grow within me to create something with my hands and with the animals—with their skins, bones, or parts of them, and with the scraps of my work—that would, first and foremost, give them dignity and at the same time allow them to become instruments of communication. My creations, my animals, speak of themselves, but simultaneously they speak to the observers about the observers themselves.
With artistic taxidermy, with this particular branch of the field, one can strike deep into the collective imagination. More than messages, however, these are invitations to reflect, a continuous and multifaceted re-elaboration of contemporary life, an attempt to use these animal remains as a mirror in which to investigate our own face, our society composed of human beings and animals.
For a more accurate and exhaustive reflection on what I mean by artistic taxidermy and to delve deeper into my artistic production, I refer the reader to the Inanimus section, with links where you can read journalistic contributions, watch videos, and discover much more.
