WRITTEN BY MICAELA FLENDA
1. How did you develop your own aesthetic and what is your approach when you’re shooting? What inspires your work?
I found own my style experimenting day after day, when I work I start from a basic idea that evolves during the process.I draw my artistic inspiration from the things I love, from those that terrify me or even strike my imagination. I remember that as a child I was fascinated with illustrations in old Science books and Cabinet of Curiosities. I adore collecting toys, skeletons, insects and forgotten objects that I find in flea markets. I like to think that hidden behind their shape, function/purpose are their souls, a story to tell made up of places and unknown emotions.
2. How did the idea of shooting Melted come from? And what is the relationship with your previous works?
In “Melted” series I represent a new generation of girls who, with their change have revolutionized the concept of beauty. I wanted to create unusual portraits in which, despite the subject has the face totally erased still retains a strong identity, the color that covers it represents the essence that flows to the outside, reflecting the inner life and it shows in its many shades with bright colors. Also in this series there are recurring themes such as youth, the playful world and the surreal.
3. Usually in your works there’s no presence of human beings, in particular no real faces. What is the meaning of this “absence of presence” in your works?
More than an absence of presence there is a choice of subjects, usually I prefer to capture still lives.
4. In Happily Ever After we can find a group of Disney surgeons operating on a highly artificial female body: how do irony and darkness affect your shots?
In my works I include some of my passions like b-movies. Often when dealing with themes like obsessions, in this case for aesthetics, the extremization creates automatically a noir atmosphere.
5. In Through the Mirror skulls, candies, flowers, creepy toys and animal references play together in every composition, this work is full of symbolic elements: what is the meaning of this conceptual dimension in the composition of your images?
With these elements I first create the assemblage, photograph then digitally enhance. I decontextualize and manipulate objects, giving them a new life, creating a different reality that strikes the viewer, recreating a world suspended between kaleidoscopic symmetries and hidden symbols.
6. This Is Me Not Being You is a project about identity: what does identity mean to you?
For me in an age where too often there is a loss of identity of the individual, emphasizing through photography some of the features is a way to capture the essence, as the artist Mario Schifano said “People are more true if reproduced “.