Interview with Zilda
I’m working on a project called “Fragiles Fabulae”. The point is to revisit “classical” pictorial works by putting them into context in the street. Lately in Naples, I had a great time making appear symbolist and pre-Raphaelite-inspired paintings in waste lands, garbage dumps…
Hundreds of artists out there make pieces every day. How do you think could be your style defined?
My work style is not essentially defined by the graphic characteristics of my paintings. I think that being a street artist is before all being a plasticien, open to a full range of practices. What triggers me is being able to develop a style in a more general way, in a personal way of fitting a painting in the street, working on a precise theme depending on a precise place, or thinking about a photographic approach, a mise en scène….
Painting, engraving, comics, plasticienne photography, Land art, silent films, bar chats, the ass of a girl passing by.
A lot of artists want to be published on art blogs. It seems that in these days a painted wall does not exists without re-blogging. What’s your Pov?
Yes indeed. Internet enables to extend the life length of works doomed to disappear but also to make them visible beyond street space. So that’s quite an interesting window display for artists. However, I think it’s bullshit to believe that a work can only exist if it is seen by as many as possible. If an artist creates, it must primarily be for him.
Someone said: “a wall is a very big weapon”. Do you find the same nowadays, while we’re surrounded by millions of billboards? I mean, don’t you find even thinner the line between art and ads?
That’s sad but that’s the reality… Clearly, more and more street artists use the same codes, the same propaganda will as advertising. An artist’s name becomes a brand as soon as he chooses to spread excessively his production or his slogan like shit on the walls… inevitably, his signature impresses itself in a lot of people’s minds. A wall can also be used to make the masses numb.
Make a passer-by stop and start a dialogue with a work. Or just tell him a story for a few seconds.
I mean, do you feel connected with the so called “street art movement”?
I’m not interested in the street art movement. There are many talented artists with very peculiar graphic universes but only few of them talk about emotion.
I’m not really interested in Art exchange.
What role do you find galleries can play in helping an artist to emerge from the streets?
I think that for almost all street artists, exhibiting their works in a gallery is a step towards recognition, some kind of stupid ass confirmation. As far as I’m concerned, I’ve always said that my work takes its full meaning in the street, so, exhibiting it in a gallery would discredit my approach. I don’t need to exhibit my work in a gallery for it to exist. And I certainly don’t want anybody to speculate on my work.
I’m more inclined to look forward. I think the best is always ahead of us..
Of all the projects you’ve done, which has been most satisfying?
Working in Naples was by far my nicest experience . Both artistic and human.
I will pursue my project “Fragiles Fabulae” in another European city. This time, I leave Italy to confront my paintings to other «settings», to a more Nordic atmosphere. I think I will work for some time in a city like Hamburg.