Hello Giada and welcome to NotRandomArt. The current issue is revolving around the problem of communication and identity. Is there any particular way you would describe your identity as an artist but also as a human being in dynamically changing, unstable times? In particular, does your cultural substratum/identity form your aesthetics?
Hello to all the readers of NotRandomArt.
The figure of the artist has always existed, crossed every generation, bringing contributions to the way of life and thinking of any age, the first forms of art can be found already in prehistoric times, this helps to give historicity to this activity.
Identity is really important because it is what the artist represents, when you see the work you also understand the identity of the person who made it.
I believe that identity is the set of characteristic traits of an artist that is also manifested in the works that it produces, identity remains over time while contents change because they are the result of the time we live.
Content and cultural context evolve in parallel.
Society has results on the environment we live in, it is impossible not to have them, anything leads to a consequence.
Since I was born I have always lived in Italy, this has shaped my way of thinking and my identity.
Would you like to tell us something about your artistic as well as life background? What inspired you to be in this artistic point in your life when you are now?
Even as a child I had a passion for art, I especially liked creating what was not there and giving my interpretation to what I saw through the drawing.
I have always drawn so much, I remember that in primary school it was usual at the end of the year to make a book with the drawings made by each student, mine were so many that often it was necessary to make as many as 2 books! As soon as I was 13 I enrolled in an art school and when I had 18 I was determined to continue the same studies and went to the Academy of Fine Arts in Venice where I enrolled in painting, I studied there for five years.
In this period of studies I begin to attend many museums, art foundations and artists entering into the heart of the art world, it is in this period that I begin to take the first steps exposing my works in different cultural contexts.
In the last year I attended a workshop at the VAC Foundation in Venice and in May I held a workshop in collaboration with La Biennale di Venezia, a brief experience that gave me so much.
I am currently an artist in residence at the Bevilacqua La Masa Foundation in Venice and I am enrolled at the IUAV University of Venice.
Could you identify a specific artwork that has influenced your artistic practice or has impacted the way you think about your identity as a participant of the visual culture?
I have never had a particular work of art that influenced me, I have always been fascinated by any cultural phenomenon, I am intrigued by the way people dress, especially those who make fashion their own by putting on their own.
Recently I saw a girl half dressed between a heroine of a cartoon and a girl who had just come out of the disco, these are the kind of hybrid trends I prefer!
I often go to the library and predict graphic, lettering and typography books, but I also prefer architecture, I love pure forms.
I like to read fashion magazines and visual culture, the role of graphic communication interests me a lot, magazines are a showcase of the latest trends.
Every now and then I buy biology and science dossiers or supplements, it's a way I look, it attracts me and it repels me, but I haven't yet introduced it into my artistic poetry.
These are the sources that inspire me the most, I also read detective novels I recently read one with Neapolitan dialogues and it was really difficult since I'm not a Neapolitan!
This helps me to break away from work when I'm absolutely taken or when I want to do something different than painting.
Since you transform your experiences into your artwork, we are curious, what is the role of memory in your artistic productions? We are particularly interested if you try to achieve a faithful translation of your previous experiences or if you rather use memory as starting point to create.
The large and small format drawings of these pages were made between 2016 and 2017, the points of reference are both images and memory.
When I talk about memory to realize a design I mean without the reference of an image, it is not a very common practice, at least in the academy where I studied, but this allows me to be independent from other images already existing and therefore already seen.
When I find beautiful photos / images I use for drawings and paintings, but it is never a slavish copy of the original, it is always my interpretation, I am interested in introducing my vision of things and of the reality in which I live in the drawings realizable.
The works published in these pages represent the production aimed at considerations on the natural and artificial landscape in today's context.
What is the role of technique in your practice? In particular are there any constraints or rules that you follow when creating?