1. Adulthood often is associated with the end of amusement and the beginning of a social life that limits people’s genuine childish and carefree side. Can escapism be considered a way to nurture that side of life? A door to the real person, freed from any social norm?

The thin line that delimits the passage to adulthood is generated by a series of social implications and superstructures that progressively circumscribe the individual within predefined parameters. The latter are designed to structurally delineate subjectivity, in relation to the outside but still tending to a mode of expression which is limited to the mass. Moreover, the concept of escapism appears to us as the natural evolution protracting from the concept of ineptitude to that of the utopia. Every subjectivity should generally be cultivated in autonomy, but radically, with the consciousness of its own sensory perception assisted to the awareness of its specific weight in the world. In this way the nature of our existence would benefit from an individual mastery, suitable to the achievement of a mental stability that won’t get affected by the reverberation of the aforementioned social superstructures.


2. Children can be evil. Entertainment can hide a dark side. How do you explore that part of humanity in your works?

Children can be, for lack of filters. Adults for mere will. But this can be mutually valid by inverting the subjects. Entertainment can sometimes be enigmatic or gloomy, especially if it manifests as a visceral process, not definable at birth but shifting in its development and thus not programmable reaction-wise.  My projects tend to be based on anthropological studies (contemporary or not) with an associated cause and effect on society. Implicit in the drafting of research lays an appropriate understanding and channeling of the psychic and emotional chaos that structures subjectivity, taking into consideration all the aspects belonging to the perspective hourglass both poles are comprised of.

3. John Dewey, talking about Art, once said «Art is not the possession of the few who are recognized writers, painters, musicians; it is the authentic expression of any and all individuality. Those who have the gift of creative expression in unusually large measure disclose the meaning of the individuality of others to those others. In participating in the work of art, they become artists in their activity». In your opinion how does art challenge the concept of identity? And in what way is your artistic practice expression of your persona

The issue of identity and differences crosses everybody’s life, at a family and social level. Even in its uniqueness, personal identity (linked to body, history, memory, relationships and experiences) is in continuous transformation, it lives by sharing. It is an amalgam of languages, cultures, positive and negative experiences, conflicts, exchanges of ideas and visions about the self and the world. This is a dimension that is intuitively accessed through aesthetic sensibility, a work of attentive listening to oneself, to one’s own history, and to the reality that surrounds us. Identity disorders are often present: liquid, ill-defined, alienated identities, the result of the definition of others. Rigid, defensive identities that imprison life. The difference is in what the identity is based on. In Art we are in the presence of a continuous research of the crossing of what is given, of approaching that mysterious, founding element that makes us participate in a story. It is a research that is carried out mainly in a pre-logical area which measures itself against its own limit, as the person in the push to go further is getting closer and closer to the regime of ​​mystery. That area can be perceived but never completely told and shared, it is an inexhaustible area that cannot be owned. Art’s work does not always reach these levels of depth but, by putting vital nuclei into play, it still succeeds in giving shape to the unspeakable, to give plastic consistency to the game of defended by the deep anguishes of dispersion in the void, of fragmentation, of guilt, of hatred of a reality from which one feels excluded, of the processes of idealization and devaluation. It should however be kept in mind that the usability of a work of art depends not only on the artist, but also on the ability of the user to let himself be questioned by it, to let it activate processes of thought and transformation, overcoming the temptation of denying uncomfortable realities and refusing anxieties. For the above reasons my artworks make viscerality fall into a material condition, intrinsic to the personal and collective experience that has been stratified into a germ.


4. Fashion, photography, paintings, sculpture, poetry, architecture, design. They are all expressions of creativity. They are all connected. How do all these forms of art influence your work? 

All my projects start from an interconnection of the arts without excluding any of them, because I work essentially on concepts. I try to found my studies / analyses excluding no categories, but basing on the different forms of presentation of the contents I work on. There is no preferential lane but a communicative synergy outlined by multiple channels of expression.

Photo courtesy of  Thomas Soardi.


Posted by:Micaela Flenda