I consider art important and necessary for life, a little bit as a religion that turns towards Absolute. In my opinion, art is not an occasional and elective added value, but it is something completely absorbing, it is life itself. Of course some codes are required, especially for contemporary art, but a work of art often communicates also at an intuitive level by providing doubts or answers which are necessary to a complete life, based on the research of the reasons of existence. Art, religion, philosophy have the same role in human life, even if they use different means.
When did you realize you wanted to be an artist?
I don’t think there was a specific moment when I became aware I wanted to be an artist. I certainly believe that the choice of an artistic education was important, but after that the daily constancy and determination were needed. Everybody can understand images and the metaphors they bring about, in fact children are artists, later on, education leads them to have a preference for a verbal or numerical language, on the contrary, artists simply do not quit that primordial and very powerful language of images. I believe I never quitted it myself, as a matter of fact I tried to deepen its meanings by using the verbal language.
How did your education influence art?
First by making me fully aware that it was something important at an existential level. Since I started travelling through Europe as a teenage girl, the first thing to visit were always the museums to know and acknowledge that each age and people had their own art; secondly my daily full immersion in the world of contemporary art led me to a moment of crisis and detachment which was necessary to reach a further elaboration of my art form.
Which media do you generally use?
Since I had an artistic education, I could experiment with all sorts of expressive means to succeed in finding those that were really suitable for me. That’s why, passing through the most traditional pictorial techniques I wanted to experiment all kinds–engraving, tapestry, clay, collage, photography. I am now focusing on two means that are essential to me, video making and mandala, in a very personal way. Maybe because they both have within them the capability of containing the evolution of time, the appearance of time going by and the condensation of accumulated experiences.
Where does the idea of mandala come from?
Some years ago I was in a state of crisis with the world of art, I had exhausted my research on the evolution of graphic language that had kept me busy for a long time collecting and copying children’s drawings in tens, and examining the subject closely through the study of art therapy. At the same time I had exhausted my will to read contemporary art articles or magazines. Reading Jung helped me to understand what I wanted to do going forward: to accumulate experience,s giving them expression in an artistic form. Jung’s idea of transformation helped me to understand that everything could be useful and could be turned in something else. So I started cutting and tearing my paper works and magazines I had read to assemble the pieces in a new evolutionary spiral shape. A series of completely new works was born, unexpected for their capability to condense and tell an experience. Actually, I made the same thing with videos: I wanted to recreate an experience through scraps of images joined together as a collage, that is how, for example, the series of “E.”, as experience, was born.
Who can enjoy this art and how?
Everyone can enjoy these works, because everyone has got experiences he would like to “ condense”, to overtake and go beyond them but, at the same time, keeping them very well in mind in his personal life background.
and see the videos on Vimeo: