Interview: Daniela Sandroni
Luca Curci talks with Daniela Sandroni during THE BODY LANGUAGE 2020 at THE ROOM Contemporary Art Space.
Daniela Sandroni (Varese, 1993) is a young Italian artist living in Varese. Recognizing since her childhood the talent for the artistic disciplines, she cultivated the appeal for the Art by attending initially the Artistic High School Angelo Frattini of Varese and then the course of Visual Arts at the Academy of Fine Arts Aldo Galli of Como. Pursuing her artistic career, she had the opportunity to participate in several art exhibitions and to be the winner and finalist of national and international competitions. The result of an intense conceptual research, her poetics investigates and explores reality and existence relying on new intuitions and revelations, able to be realized in forms and languages that transcend the surface. Traces, impromptu passages, instants, discards, withdrawals, amputations, perceptions. In her works the material and the organic intertwine and modulate the space in a complex of shapes and transparencies in continuous expansion. An organic growth that maps the surface, which suggests a movement, a passage. Silent images, without rest, metaphor of subtle primordial involvement and almost psychic encounters that seem to move the appearance.
Luca Curci – What’s your background? What is the experience that has influenced your work the most?
Daniela Sandroni – The experience that really marked and engraved most significantly my work was the head trauma that I suffered in the year 2017. Only years later I had the opportunity to notice and see how the dissociation of which I knew nothing that accompanied my daily life, made itself visible with its silent evolution in my work, in the gestures that directed and placed the materials on the canvas, in the resulting work of art. In this way I was able to know the powerful transcendent and salvific character of art that brought to light through me something that was unknown to me, that allowed me to see something that would otherwise remain invisible. This was for me a very important turning point that led me to a full and conscious awareness of the importance and value of my role and art itself.
LC – What is art for you?
DS – I think art is a contact, an intimate and profound contact capable of bringing to light the most real aspect of things, the being of things, the truth in reality. The art somehow touching you opens your eyes, expands your consciousness creating a new access to reality, a different access, an access that goes beyond what you saw or thought you knew before that moment. I believe that the art grafts new, elevated, deep insights into the atmosphere and down deep in everyone of us.
LC – What is the most challenging part about creating your artworks?
DS – The most demanding part I think is the moment in which my total rational detachment is needed during the creation of the work: in cancelling me it is as if I became a bridge, a threshold through the creative act flows and can become visible. That moment when I give the most total confidence to gesture, to intuition, to magnetism towards an idea, to the inner thrust of proceeding in a certain way. I do not follow premeditated compositions or gestures with a predetermined address, my total energy follows the absolute freedom of disposing, of putting and subtracting of materials and the trust of deiscence of the work and the concepts that arise from it.
LC – What is your creative process like?
DS – My creative process is made of magnetism and intuition. Initially my attention is anchored to a concept or an image or a vision as if it were a real gravity that I can not ignore, from which I can not divert attention. From that moment of contact, following intuitions, thoughts, impromptu connections, takes shape the work that will arise both with regard to its meaning and message, and with regard to its external form.
LC – How is being an artist nowadays?
DS – Being an artist today, I think it’s a responsibility. I think it is a real mission to stimulate with new perspectives a stale society more and more focused on surface and appearance. It is a real work that struggles for the authenticity of itself and the reality that surrounds us.
LC – What is the message linked to the artwork you have shown in this exhibition? How is it connected to the theme of the entire festival?
DS – The essence of the message that wants to represent the artwork “Traces” is how the body, our own flesh, is an organism continually undone and remade in the natural modification of its constituent elements that remains only in its absolute transience. As well as the totality of the real that permeates and surrounds us, our individuality is an individuality of events, a kaleidoscope that forms each time a new composition. The becoming of our being becomes a mapping of our passage and in every moment of our life without realizing it we feed on the flesh of the world, which at the same time feeds on our flesh. This message connects to the theme of the festival “The Body Language” because it conveys the most essential mode with which the body dialogues and interacts constantly with the reality that surrounds it, permeates and envelops it.
LC – Do you agree with our vision of art and what do you think about the theme of the festival?
DS – I completely marry your vision of art and I think the festival theme itself further enhances the possibility of bringing that vision to light.
LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
DS – Absolutely.
LC – Would you suggest a collaboration with us? What do you think about our services?
DS – I would certainly recommend it, because the services offered are unique opportunities placed in a context and in an eclectic vision and of great value.
LC – What is your idea about ITSLIQUID GROUP?
DS – I think it is a communication platform that not only can offer great opportunities to artists, but also and above all an idea of deep and very important art based on concepts and visions that can not miss both in art and in the life of each of us.