We continue our “Beyond Boundaries” interview series, dedicated to artists who challenge conventions and explore the edges of intimacy, identity, and the human form.
In this second edition, we present a conversation with London-based Italian artist Francesco Brunetti, whose work centers on the male body and questions cultural taboos surrounding eroticism and representation. We discussed the contrasting perceptions of erotic art between audiences in Italy and the UK, the persistence of gendered stereotypes in depictions of the body, and the vulnerability that comes with creating art rooted in desire and self-expression.
Creating real, tangible art that depicts the body gives something lasting,
Francesco Brunetti
not just temporary like a social media post.
I (Interviewer): In your opinion, how does society in your country perceive art that explores terms of eroticism, identity, and the body?
F (Francesco Brunetti): I live in London, but I’m from Italy. It’s very interesting to see the difference between these two countries. Historically and culturally they’re very different, but both have had a difficult past when it comes to accepting gay rights or gay expression in general. I think that Italy still has a lot to do.
People in Italy tend to be more close-minded compared to those in the UK or Northern Europe. That’s one of the reasons I moved to the UK. For example, I studied Fine Arts in Naples, and you’d expect that an academy of fine arts would be open-minded, but I had one professor and some peers who had problems with my work. That’s not something you’d expect in an art environment, right?
I’m not sure if that would happen in the UK, but from my experience, and even based on sales, Italy is more old-fashioned.
I: Do you think social vision of these topics in any way influenced your vision and your approach to visual art?
F: Based on the work I do, which is all about a male body, the response is quite different when we talk about the male body compared to the female body. If we consider, for instance, art galleries or museums, you’ll see that the female nude is way more accepted. Historically speaking, the female nude doesn’t require a label or a specific exhibition for that, while that’s not the case for male nudity. That’s probably due to misogyny, homophobia, or just history: it’s part of our culture.
In the past I did draw the female body, and the response was quite different. I think people have more problems when it comes to the male body. But that’s just the general public, people who support me are very positive. It’s good to say there are people who understand and appreciate what I do.
I: What do you consider outdated or even harmful clichés in depiction of the human body?
F: That’s a very good question. I do recognize that the type of work I do usually depicts a fit male body. It’s mainstream in that regard, and that’s influenced by the outside world and what I learned from a young age. It’s very difficult to get rid of those ideas of what the male body “should” look like.
Personally, I don’t have a type. I like chubby guys, thin guys; they don’t have to be muscular. But when I draw, I find myself preferring the more typical male body, like Greek art or mythology, it’s something easier to appreciate. Maybe I’m part of the problem, I don’t know, but I recognize that it’s harder to depict more unconventional bodies.
I’d also say this is an issue in part of the gay community. I’m quite self-critical, and I know these issues are cultural.
I started taking my art seriously with a piece called Tube. It became my starting point and made me realize I want this to be my main job, something I can earn from while fully being myself.
Francesco Brunetti
I: What has been the most vulnerable or difficult moment when working with these topics?
F: The most difficult thing is just expressing myself and putting my art in front of audiences. Especially in the beginning: people are used to the female body, and the reaction to the male nude is even worse. It’s difficult to share my art with the world because even when I meet new people, I can’t take for granted that I can share what I do. You never know how someone will react.
It’s also challenging on social platforms like Instagram and Facebook, which automatically flag nudity, even in art. That affects artists who do this for a living because you can’t reach new people.
I: Can you name a particular artwork (either your own or someone else’s) that deeply impressed you or changed your understanding of sexuality or erotic art?
F: If I think about other artists, I can’t name one specific artwork, but I’m a huge fan of Italian artists like Guido Crepax and Milo Manara. Their art is mostly about the female body, and I basically do what they do, but with a male body. They were very successful in the 1960s–1970s, and they inspired me a lot.
As for my own work, I started taking it very seriously in 2023 with a piece called Tube, dedicated to the London Underground. It depicts a man holding a camera, wearing a T-shirt but nothing else, his nudity is visible. It became my starting point and made me realize I want this to be my main job, or at least something I can earn from while fully being myself. It’s very special to me.
I: The last question: How would you explain to potential collectors why owning a piece of erotic art matters beyond just decoration? Why is it important to support artists who work with these topics?
F: I think nowadays we’re surrounded by pictures every second of our lives, and we’ve lost the sense of the body’s importance because of how much visual content we consume. The internet is a dark place. I like it, but you can get lost there.
Creating real, tangible art that depicts the body (male, female, or otherwise) gives something lasting, not just temporary like a social media post. It’s important to have something that truly comes from an artist’s desire to put themselves onto paper or canvas. It’s brave for an artist to do that, and collectors should recognize and celebrate that courage.
SMELLING FLOWERS
Limited edition print
2025
€323
THE MORE HE SMILES
Limited edition print
2020
€323
