Wild Interviews presents: Antonio Leveque

Hello wild chaps, we’re very pleased to present you our first “wild interview” with one of the most iconic sculptors in the fantasy panorama: Mr. Antonio Leveque. We want to thank him for his kindness and receptiveness. Hope you’ll enjoy it!


Q: “How did you start and how long have you being sculpting?”


“I can say that I have always been sculpting… as a child I looked at my dad while dabbling as an amateur with canvas to paint and clay to carve.

I watched charmed by those forms that came to life under the able hands of my parent and I also used to twiddle giving a form to materials’ scraps.

During my childhood, I ventured with increasing greed to everything that was tale, fairy tale, epic and adventurous romance and I spent beautiful and endless moments face to face with my imagination, an “ancient and always new” woman that I learned to love right away.

I well remember my first encounter with scale figure… I was in Naples and I had driven my younger brother there, who was dabbling with naval modelling. We entered this Vomero shop because he had to purchase some naval complements… and there I was struck by a display case showing a dozen of beautiful Napoleonic metal figures, finely painted by the Spanish company Labayen.

“I fell in love with the showcase …. and with what it contained” the purchase of miniatures was immediate, with the documentation and the material to paint them. I spent quite a lot of years trying to refine the painting technique, but what really made my heart beat was the idea of being able to create something that was uniquely mine.

I started my first experiences with single-component mineral clay and then I moved on to a more professional use of two-component epoxy sculptural clays.”

Q: “Have you always created works related to the literary world or even something more classic – referring to modeling- for example, historical model soldiers?”


“There was a fairly long period during which I enjoyed visiting the world of the historical soldier.

It was a quite large project that allowed me to explore further some historical epochs that are very dear to me and in some ways marginal in those years historical figure panorama.

I worked on specific subjects collecting sources and expertise and then transforming the results into military models.

I created many pieces about the English Civil War 1618-1648, moving then to the American War of Independence from 1775 to 1792 and still pursuing an ample space to the historical costume of the “Serenissima” (Republic of Venice) in the 17th century.”



Q: “Your works are always very delicate and poetic, where do you draw inspiration for your subjects?”


“I always thank those who compliments me like this, because it’s certainly the most beautiful compliment that I can receive.

My idea is very simple, I think that inside of us there is “a filter” that gives the finished product a certain colour, flavour, a certain seriousness or glibness, a certain ethereal depth or not.

I cannot explain it better, but I think that in the end this filter is the trademark of every single piece that each of us creates with his own hands.”



Q: “What are your favourite illustrators, the ones that most influence your works?”


“I’m too much fond of everyone in order to be monogamous in such a choice.

It’s true that my eternal Waterloo are the novels of the 800’s European writers… I am unconditionally charmed and I surrender to those illustrated pages, trying, in my own little way, to evoke with the sculpture the same emotions writing evokes in me.”



Q: “You venture with many different painters, what advice would you give to someone approaching painting one of your pieces?”


“The most fascinating part of a collaborative relationship “at four hands”, involving one in sculpture and the other in painting, lies in the awareness of being able to enjoy a continuous exchange of considerations and emotions.

I like the painter to interpret, respecting the initial contest of the project, and putting in place all their sensitivity and especially their … ability of interpretation.

The painter must NEVER be a sculptor’s third arm, a wiped out interpreter of the sculptor’s intentions.

On the other hand, their pictorial synthesis must therefore be that added value, that unique and personal dress that seals: “painted by …”.”


Q: “Is there a particular piece you’re most fond of and why?”


“Would you expect me to answer: “I feel all of them as my children so they are all the same to me”?

Would you expect me to answer you: “the piece that I still have to create”?

… None of this …

My “Gulliver” represents my travel companion. He has been with me from the beginning and will remain faithful to my heart until the end.

On the other hand, the subject in which I embody all of myself and I can hardly ever find a substitution in my mind, in my way of being and in my heart, is “Peter Pan” … a scene I am inextricably linked to, both because it represents a good part of my perennially child’s being and because it indissolubly renews me and constantly sends me back to my inspiring Muse.


Good journey to all.

Antonio Leveque




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