Jeff DiCicco: Interview with an Artist

WYSS: Where were you trained?

I was lucky to have had art training since my childhood, taking advanced classes in school. I was born in Pittsburgh but my parents moved us to the suburbs just outside of Richmond, Virginia. The public school system in our area was a very good one that offered exceptionally good art classes. I was accepted into VCU (Virginia Commonwealth University) in Richmond. It’s a University highly regarded for its Fine Arts programs and I graduated with a BFA in education in 1997.

WYSS: Do you paint in oils or acrylics?

In a painting class I registered for in college, our instructor insisted that we work in oils for the semester. I had never before worked in the medium and up until I began my first painting – a 1963 Aston Martin DB3 – I didn’t think I would like it quite as much as I did. It’s been my medium of choice ever since.

WYSS: How do you decide how big to make a painting and how big are they on average?

This decision first begins with developing the composition of the piece, thus the proportions. The decision on size is more random, but I do enjoy working larger than smaller. My pieces range from six to twenty-five square feet.

WYSS: I notice you paint a lot of Italian cars. And of course you have an Italian name. Why do they appeal to you more than other cars?

Oh you know, we Italians are a proud bunch. Actually I’m split right down the middle. My mom’s side is from Prague, Czechoslovakia. And I’m just as proud of this half as well. In all seriousness though, I’m equally enthusiastic of all automotive manufacturers. Nearly half of the paintings I’ve created were commissions from private collectors which accounts for a few of the Italian subjects. I’m not partial but I will say that lately I’ve been very drawn to the French cars of the 30’s.

WYSS: I presume you take a picture first and then what’s your method from there?

Yes… and from there I develop the composition by cropping the image to my liking. I then decide on size and build the stretcher bar/canvas accordingly.

WYSS: I find it very interesting where you crop in on a car, like in the Miura painting, showing the wheel. Do you feel that is very critical–how much or how little of the car you show?

Absolutely. Being careful not to incorporate too much or too little of any component is crucial to a well balanced piece. It’s very important to me that the viewer’s eye has a natural tendency to move around the entire canvas without getting hung up too long on one particular area. Stopping to look at the details within the magnesium wheel or the headlight of the Miura for example is one thing, but to be able to pull back and look around at all the shapes and lines that make up the entire piece is my main goal.

WYSS: What about whole cars, do you paint many of them or are you fascinated with the details?

“The truth is in the details” I like saying. Fine art can either tell a story to, or evoke emotion from the viewer… and both of course. I’ve never painted an entire car and have little interest in doing so. Creating a painting of the entire subject and incorporating a setting (foreground/background) seems too much like “portraiture” to me. I’m not as interested in trying to tell a story with my paintings. I’m much more interested in evoking a pure emotional response. My latest piece titled, “darl’mat” reveals the subject in an even more tightly cropped composition, challenging the viewer to determine what he/she is looking at. This is my latest direction: Photo-realism style, automotive subject matter and in a sense, abstract compositions.

WYSS: What about the settings? Have you seen a beautiful car but a lousy setting? What do you do then?

A good question. One would think that since I’m only doing cropped sections of the automotive body that the surroundings wouldn’t matter but they in fact do to some degree because these surroundings can be found in the vast reflections of the subject itself. Notice again in the Miura painting the reflection on the top of the fender. You see the trees, the sky and particularly, the clouds trying to hide the sun thus creating a swirling and ghostly image. You will find this in my painting titled, “Boano” as well. Where these components of the work can be created, it’s a real treat when it’s right there to reference.

WYSS: Is your full time job a fine artist?

Yes. I’m either painting in oils or working in ink on vellum (subjects – historic architecture). I also design and build furniture from time to time but currently this is more of a hobby than a lucrative part of my profession.

WYSS: Are you a member of the AFAS?

No. As a kid I wanted nothing more than to be a member of this incredible group of automotive artists. Upon moving here to Los Angeles back in ’97, my focus was directed more towards my architectural work and I wasn’t quite as prolific with the oils. All the while however being an avid auto enthusiast, I would make it to concours events up and down the west coast. At some point during this time, I decided to go it alone.

WYSS: Where can people see your work?

I have two websites: jeffdicicco.com and jeffdicicco-motoroils.com. I’m in the process of putting everything back into one comprehensive site and eliminating the catchphrase “motoroils.” It’s been a fun term to use for a while but now it’s got to go.
Click here for a 120 frame time-lapse of the Miura painting on Jeff’s website.

WYSS: Where can we hope to see your work on display next?

I may exhibit a few pieces at Dana Point and Quail Lodge this year but still have to decide and make arrangements. My goal is to continue creating a body of work to exhibit at both local and out-of-state galleries. In the meantime, anyone is more than welcome to make an appointment to visit my home studio to view both completed pieces and my latest works in progress.