I have always had a particular interest in understanding the logic behind the creation of a work of art, whatever it may be. As a spectator, I often fantasized more about the act of creation than the final meaning of the work. I wanted to experiment with painting myself because I still believe it is the most introspective art form that exists, and I discovered that my interest was not mere curiosity—it was a fatal attraction towards a discovery not of others, but of myself. This, in my opinion, is the most beautiful gift that painting has given me.
What is your artistic background, the techniques, and the materials you have experimented with so far?
Being self-taught by nature, I have experimented a lot. For me, painting has a strong connection not only with color but also with the material aspect. Being an abstract artist by vocation, I focus a lot on both aspects. I believe it is essential to always find a balance in giving the right weight to what you want to express and how you physically do it. Attention to technique symbolizes, for me, the care with which one wants to express the concept. Since the craft aspect of the work is important to me, I pay a lot of attention to doing it carefully. The material aspect of a painting also has a symbolic meaning for me. In my early works, I even padded the canvases to create bas-relief works. I experimented with gesso, vinyl glues, acrylics, sprays, etc. All this to create a physical dialogue with the material, which has become increasingly subtle and synthetic with the use of oil painting. Despite the technical evolution, I sometimes like to revisit techniques I used in the past to evoke particular sensations.
What are the three aspects that differentiate you from other artists, making your work unique?
I think the difference lies in the research itself, understood as the ability to change while trying to improve without abandoning one's inspirations. Searching for a new path for the benefit of others, like tracing new routes that lead to the top of a mountain. This keeps the work always fresh and interesting to execute. I have noticed that my painting cycles last around 3-4 years; it comes naturally to me to finish a cycle and find new forms to express myself.
Where does your inspiration come from?
Using painting as an act of reflection, I draw inspiration from sensations, moods, and experiences that I consider complex and important to explore. I try to represent them based on my intuition. Usually, my work varies from an organizational point of view depending on the periods, while remaining constant.
What is your artistic approach? What visions, sensations, or feelings do you want to evoke in the viewer?
More than a feeling or a sensation, I want to leave a testimony of how dialogue can pass through other channels or on less conventional frequencies, in the hope that those who look at my works can experience all the emotions I feel during the entire process of realization, from the idea to the discovery, creation, and wonder. A sincere exchange of experiences.
What is the process of creating your works? Spontaneous or with a long preparatory process (technical, inspired by the classics of art, or other)?
My intention is to spontaneously create works after careful reflection on how to do it. Before creating a new series of works, I usually prepare sketches on paper or small canvases to experiment with color combinations, gestures, or techniques.
Do you use a particular working technique? If so, can you explain it to me?
In recent years, I mainly use oil painting. I prefer to layer the color without overlapping the elements. I start from a spontaneous form from which the creative dialogue is born. The basic creation is born within a few hours; everything that follows is attention to detail.
Are there innovative aspects in your work? Can you tell us what they are?
Searching for one's own expressive language is, in itself, a personal innovation, and this is sufficient for me.
Do you have a format or medium with which you feel most comfortable? If so, why?
I often work on 100x80 cm canvases; the larger works are in the 150x120 cm format. I would like to work on larger-scale works, but the limit is only for practical reasons.
Where do you produce your works? At home, in a shared studio, or in your own studio? And in this space, how do you organize your creative work?
I have a studio at my home and other spaces where I store the works. The studio is a very intimate place for me.
Does your work take you traveling to meet new collectors, for fairs, or exhibitions? If so, what does it bring you?
I try to keep myself updated by visiting exhibitions and fairs, observing other authors, trends, and the market, but mainly out of curiosity. My sources of inspiration remain experiences, not instant images.
How do you imagine the evolution of your work and your career as an artist in the future?
I would like to be totally absorbed by painting and imagine myself painting without many distractions in a timeless place.
What is the theme, style, or technique of your latest artistic production?
The latest series starts from "Liberamente" and consists of informal oil works. As the title suggests, these are works that serve to free the mind. I let my instincts flow, transforming them into beauty.
Can you tell us about your most important exhibition experience?
The one that satisfied me the most over all these years was the exhibition I held in 2013 at the Castle of Monteruzzo in Castiglione Olona in the province of Varese, a place where I lived for a certain period and whose history I fell in love with. I was appointed artist of the Historical Palio and had the opportunity to design the banner symbol of the event. The exhibition was held throughout the event, and at the end of another beautiful experience I had, which was to artistically curate a place in the ancient village, proposing collective exhibitions in which I participated with other artist friends whom I personally esteemed.
If you could create a famous work of art in history, which one would you choose? And why?
I would choose any large-format Divisionist work by Segantini for the technique, time, and care with which they were made.
If you could invite a famous artist (living or dead) to dinner, who would it be? How would you suggest spending the evening?
I would invite Joan Miró and insist on cooking myself, something simple but good.
Olimpia Gaia Martinelli
