What made you approach art and become an artist? (events, feelings, experiences...)
I’ve always had an innate calling to art. Ever since I can remember, I’ve always engaged in something creative. But painting has been the one constant throughout that I have always returned to, like an old reliable friend that I feel most comfortable with.
What is your artistic journey, techniques and subjects you have experimented with to date?
Aside from painting which I got into as soon as I could hold a brush, I ventured into a few different genres of art which included making jewellery, sculpture, a photography course at college and drawing in between.
My subject matter has generally always centred around the human form in varying contexts and incarnations. I am fascinated by the human condition and have always strived to translate the metaphysical complexities of humanness through my paintings. I focus particularly on faces through which I seek to depict emotions that sit on the heavier side of the spectrum. A melancholic or slightly dour expression is far more interesting a study to me in my works than a jovial and unaffected smiling face. For me, the latter does not represent truly what it is to be a human as the moments that give us these feelings are for more fleeting.
What are 3 aspects that differentiate you from other artists, making your work unique?
I’m not sure any of us can say definitively what 3 aspects separate us from the next artist. Every single artist will differ from the next to a greater or lesser extent. I suppose it’s to what extent that is when we can say there is a clear difference and allows us to feel unique in our craft. In my work, I incorporate both fine and abstract styles. The challenge is to bring the two together harmoniously so that aesthetically, the painting works. I used to paint solely with a fine art style but started slowly branching into the more unfamiliar territory of abstract which I feel very liberated by. Now, I almost feel that each style can only thrive with presence of the other in my pieces.
Where does your inspiration come from?
My inspiration comes from every human being I see, have ever seen, will ever see or engage with. We, as a study, are surely one of the most fascinating subject matters. I continue to attain to capture the elements of particular qualities or emotions we, as people can embody in my work.
What is the intent of your art? What visions, sensations or feelings do you want to evoke in the viewer?
The intent of my art is to visually engage and interest the viewer. I’ve never tried to presume an agenda or impose any explicit message or meaning in my works. I don’t think it’s my business to dictate what you as the viewer are seeing when you look at my paintings. I believe it is for the viewer to decide what they are looking at and conjure their own narrative and feelings. I also don’t believe it is the business of the viewer to know the inner most workings of my brain and for me to bear my soul for all to see. I paint what I paint because it means something to me and resonates with me and the knowledge of that allows for the creativity to be fully explored. If I were to expose my feelings and concepts behind my work, the work would not be special, it would not be mine and it would lose its power as a piece of art because the foundations on which it was created would not be pure, organic and honest. They would be spoiled.
What is the process of creation of your works? Spontaneous or with a long preparatory process (technique, inspiration from art classics or other)?
I usually always start with the fine art style as this takes the most concentration and time. Once I am happy with the completion of this part of the painting, I work around the fine brush strokes to create harmonious abstract ones. This part offers more freedom and creativity and allows for me to take the piece wherever I want it to go.
What techniques do you prefer?If yes, can you explain it?
I don’t necessarily favour one technique - fine brush strokes vs. abstract brush strokes, over the other as both have their merits and offer their own rewards, both in process and visual effect. And each is as integral to the painting as the other.
Are there any innovative aspects to your work? Can you tell us which ones?
Perhaps not innovation but something that I like my work to be recognised for is my technique of incorporating both abstract and fine art. It’s not always an easy process and one that I am eternally trying to conquer with each painting.
Do you have a format or medium that you are most comfortable with?If yes, Why?
Oils are my paints of choice. I like how the paint moves around the board and the slower drying time allows easy manipulation of the paint.
Where do you produce your work? At home, in a shared or private studio? And within this space how is your production organized?
I have a private studio space in north London. There is little conscious organisation save for a designated painting wall.
Does your work lead you to travel to meet new collectors, for shows or exhibitions? If so, what do you gain from it?
I meet new collectors through all streams. It’s always a joy to meet people who like my work and get something from it. That’s hugely rewarding.
How do you imagine the evolution of your work and your figure as an artist in the future?
I think it’s important for everyone in a creative field to be constantly evolving and growing. Remaining stagnant won’t lead to improvement or growth.
I continue to explore my subject matter and strive to produce as good a painting as I possibly can with every new work
What is the topic, style, or technique of your latest artistic production?
The topic is a perpetual one - figures. But lately I’ve been introducing collage into my works. I love the different textures and visual feast of colour and pattern presented by the completed piece.
Can you tell us about your most important exhibition experience?
Probably my first ever solo exhibition. I was 25 years old. I’d never exhibited my works before. It was an incredible experience and a sense of pride I’d never before experienced. To know that my work was being received well by anyone was an incredible achievement for me.
If you could have created a famous work in the history of art, which one would you choose? And why would you choose it?
Anything by Lucian Freud. Probably ‘Benefits supervisor sleeping’. Stunning, shocking, beautiful, grotesque, awesome and exceptional. Like most of his works.
If you could invite a famous artist (dead or living) to dinner, who would it be? How would you propose him/her to spend the evening?
Lucian Freud. We’d have dinner in one of his favourite west London restaurants and then enjoy a bottle or two or three of red wine and discuss art.
Olimpia Gaia Martinelli
