Domenico Zindato presents
an interesting case study to test the relevance of the designation "outsider"...The well traveled,
Italian born Zindato,who now resides in Mexico City and is conversant in many languages...clearly debunks the stereotypical notion of the outsider as do a number of contemporary self-taught artists...Zindato's
jewel-like drawings appear to reveal the artistic fruits of his wanderlust, and critics have likened his work to both Indian miniatures and ancient Mesoamerican sculpture.
Although the artist concedes that his travels, museums,and books serve as important visual sources for him, he is quick to point out that his involvement with such material is "essentially intuitive ...Despite his active engagement with visual culture, both past and present, Zindato
believes that his art ultimately is drawn from within, an observation that is corroborated by the Artis's "trancelike" working method.Zindato begins each of his drawings by preparing the back grounds with soft pastels and then works with pen and ink to draw out his imagery."as I start working,i enter more and more into a sort of switching off (of) the outside world.While I am drawing, inner voices are talking to myself from many different places...it is like a meditation stator a trance,a journey..." -The dots, leaves,headless bodies, and disembodied heads-are "peculiar features" that have appeared in his work for many years....As he explains, these elements "had been springing into my pictorial language...from a not-reflective or thoughtful source.Zindato,like many outsider artists, believes that the content of his art arises intuitively from the inner recesses of his psyche.Nonetheless,the pattern sensibility and stylistic archaism ...suggest that the artist's inner-driven work is ,at least in part, mediated by external forces, notably his active engagement with multicultural artistic expressions across the globe.
Joyce H.Robinson,essay for the
"Wos up man?"exhibition catalogue,
Palmer museum of Art,2005
Domenico Zindato is best known for his elaborate ,lush drawings composed of smudged soft pastel and intricate ink lines.His psychedelic, mesmerizing works employ a private vocabulary of icons and symbols and sometimes nearly disintegrate into a maze of elaborate details.These remarkable drawings evoke many realms simultaneously:mandalas from Asia,aboriginal landscapes from Australia,even the imaginary worlds of Swiss outsider artist Adolf Wolffli....Zindato's drawings range from symbolically figural to fully nonobjective,distilling elements to their simplest forms and shapes, sometimes obscuring the figures that lurk in the background of his imagery.Though engaged with drawing since his teenage years, Zindato first studied photography and spent years developing a practice that involved using props and staging his images.He was living in Berlin during that time, where he explored cinema and painting as well and periodically exhibited his photographs.His drawings from the period demonstrate a similarity to his staged photography:each sketch echoes the layout of a theatrical setting, every detail considered.They were produced in private and not originally intended for exhibition, but when he showed his work to the seminal New York art dealer Phyllis Kind,she was more interested in the drawings than in his photographyShe immediately began to market them, which encouraged the artist to focus his attention on the drawn line.(Additionally his preferred infrared film was discontinuedaround 2007,another impetus to redirect his efforts).Zindato's meditative works reveal his attraction to labor -intensive design based on recurring marks or motifs that began to fill more and more of the page as he moved away from representation and narrative into rhythmic ,layered patterning,Dazzling and pulsing colors dissolve into one another; twisted images of interlocking geometric shapes evolve out of one another.His "mindscapes" (his drawings transcend mere landscape) are also evidence of his wanderlust.....He does not sketch before-hand or develop a scheme for each new artwork.He simply begins to draw, first applying soft pastel, which he smears around the paper surface with his fingers, this layer is secured with fixe, and then he sketches his tight networks of colorful patterns with nabbed pens and thin brushes.Recycling forms and imagery from one drawing to the next, Zindato creates small but expansive worlds that contain their own rigorous topographies much in the way that textiles do.Vibrating dots,vivid dashes,and wild flurries of amoeboid shapes are explored with a dexterity and complexity that invite the viewer into an immersive and enchanting perceptual experience.With this reduced yet extremely varied repertoire of forms, the artist lyrically enchants the viewer using seemingly every color in the world.
Brooke Davis Anderson:essay for"As Essential As Dreams",2016,exhibition catalogue,
Domenico Zindato is aware of the trancelike state he enters when creating his minutely worked, richly hued, vibrant pastel and ink drawings....zindato's bright, intuitive abstractions exotic mutant creatures suggest primordial mythic beings and sensuous dimensions much closer to corporeal existence....his aesthetic, influencedby his travels, expresses the pleasures of a self-presence
that spurs a discovery of imaginative truths within and beauty without.
"GROUNDWATERS.a century of art by self taught and outsider artists",Charles Russell,Prestel,2011
His complex and brilliantly coloured paintings are crammed with surrealistic figures and mystical combinations of numbers
CLAUDIA DICHTER :"OUTSIDER ART-COLLECTION CHARLOTTE ZANDER,1999
Drawings so powerfully seductive that they pull you into them.Once you jump into one of Zindato's pools of color,you will discover the layers of fantastically detailed patterns, both abstract and naturalistic.Bodies and body parts parade or stream or float amid abstract plant, bird and quadruped forms or totally non representational elements.Dizzying chains of circles and thousands of dots decorate layers of colored ink, both transparent and opaque
in designs of every
closely, you see them bend and blend from one part of the drawing to the other.
You discover flourishes of
metallic paint that make the whole scintillate even more.Dive deeper still and gradually you find certain portions of a drawing delicately inscribed with writings in English,Italian,
Spanish. These luminous drawings have metaphysical messages hidden in their depths, yet
they whisper their ideas with the same sensitivity that is to be found in their color harmonies.The script is not easy to spy.You have to search for it.
I’ve had the pleasure of talking with Domenico Zindato on several occasions. He told me that he begins by cutting up a hand-made paper of some type and roughing out some broad areas in pastel. He then launches himself into the lengthy process of adding layers of ink with fine-tipped brushes and nib pens, without any thought of what the composition will look like. It develops over time.The artist initially produced small drawings of figures in surrealistic settings in inks with a spidery line. By the late 1990s, he was producing work in his mature, all-over style. These pieces have grown from 6 x 8 inches to as large as 40 x 30 inches without losing any of their punch.Zindato..... had earlier incorporated the high-keyed palettes of India and Mexico into his work. His recent sheets prove him equally adept at using the rich cerulean blue of the Mediterranean and the ocher of his current home. Whatever colors he uses, he makes them dance ecstatically.
"Force of Culture"
Complex and sophisticated in its design and execution, Zindato's art is also quiet and meditative in character.
From a distance, his colorful,rythmic compositions may be read as abstractions reminiscent of various organic forms.Viewed up close, they reveal that they are made up of finely rendered,elaborate patterns that have been meticulously laid down on top of colored backgrounds of varying shapes.To make his detailed designs ,Zindato uses fine-tipped metal pen nibs, brushes with just few hairs, and colored inks....He once remarked,"each composition grows at its own pace, in its own way, organically.Zindato's work suggest affinities with everything from northern Indian miniatures to the pattern based decorative traditions of various cultures'indigenous art forms and the animal motifs found on the walls of prehistoric caves in
southern Europe.....In his pictures he employs a vocabulary of ambiguous symbols -hands,eyes,snakes, heads,birds-and patterns to allude to such themes as dreams, the relationship of human beings with nature and the spiritual world, and unnameable natural forces.The artist has said that when he is making his drawings, he feels as though he is in trance.In recent years...his compositions have become even more complex.In them, the artist has used gentle shading to create an illusion of spatial depth
or to suggest that separate patches of pattern-covered color have been layered on top of each other.Zindato recently observed,"What I'm trying to communicate with my work is energy in movement into some sort of spaces well as a sense of time transcended, of something miraculous ,blissful-an ecstatic dimension.I hope my art may stimulate a viewer's intelligence, expand his or her sensibility, and provide a sense of being at
peace with oneself and with something greater
Edward M.Gomez:essay for"The Hidden Art,20th and 21st century self taught artists from the
Audrey B.Heckler collection"
An Italian "outsider" artist who has lived in Mexico since the mid '90s, Domenico Zindato has been exhibiting his dense, wildly colorful drawings for the past 15 years. The recent examples in this show are larger than his past works and feature mesmerizing abstract backgrounds, floating orblike vessels and roadways that snake through a patterned primordial ooze.
ART IN AMERICA ,
by the editors
Pulsating with energy and an eclectic spirituality, Domenico Zindato's paintings on handmade paper achieve the visual equivalent of world music, drawing on Indian miniatures, Australian aboriginal bark painting, prehistoric rock art, and tribal textiles for imagery. Inks and water-colors layered over pastel grounds create a dazzling tour de force of hue and pattern. Dots, teardrops, leaves, lozenges, zigzags, and nets fill every inch. Both this horror vacui ("fear of empty space") and meticulous rendering identify a "strong outsider sensibility," which may not be why Phyllis Kind, who shows artists such as Martin Ramirez and Adolf Wolfi in her eponymous New York SoHo gallery, is touting Zindato as her most recent discovery....Although critics relate Zindato's palette to his Mexican environment, the brilliant combinations burnt orange with chartreuse, yellow-orange, and cobalt or gray with plum and jade, along with plum and jade, along with the figurative elements in his recent work, are as likely distillations of his travels in India, undertaken as part of a restless quest for a personal style...The cosmological diagram is another reference, clearly seen in the use of radiating circles or concentric spheres, halos and flaming rays.Often these signs are mixed with genealogical symbols representing creation myths, such as floating and dancing bodies with pronounced genitalia;hands eyes and masked heads(typically associated with ancestors and
potent magic),and tree of life forms interlaced with snakes, butterflies and four-legged animals. Zindato's paintings not only invite decoding, they often contain groups of letters forming syllables of an unfamiliar chant or lost language...speaking in tongues, representing a direct communication from God,is a characteristic of some outsider art; the use of letters as decorative motifs and surreal wordplay(Zindato is multilingual)
are alternative interpretations.Ultimately the visceral appeal to the eye is what counts.
Pamela Scheinman:"Zindato's World Music on Paper"
AK(Alessandro Keegan) :
Early in your life you studied law in Rome,lived in Berlin
before the reunification,traveled through Europe,India and Morocco,
and currently you live in Cuernavaca,Mexico.Over the years youtraveled a great
deal to further places around the globe.Have the experience of traveling and living
Troughout the world helped to shape your art?Has there been one place, in all of your travels,
that has effected you most deeply?
DZ (Domenico Zindato): I do certainly feel that ,in my case, moving around this world and making art is
deeply intertwined, mostly not because of any planning or intentions but as the movement of two legs that are
making one step after the other.One leg is art, and it has stepped first at times, and the other leg is the "wanderlust" that
stepped first, at some other moments.Both have been moving me through "lines of forces",but never obvious or predictable
paths, always strongly connected to my inner energy, seeking grounds where I can thrive, like immaterial seeds in energetic
fields.In retrospect, through hard and happier moments' can't say what place has affected me most until now, since all has been
lived with a great intensity.Though of course I do have plenty of illuminating peak moments that happened in different places,ancient
sites, natural environment, even modern-contemporary architecture, it is there I return in my mind at times.
AK: What is the place you go to most in your mind for inspiration?
.....If there is one sort of special place that has effected me, which I have experienced only a couple of times in different countries, it is the hidden waterfalls that are found in dense jungles.These are the places that I respond to completely.
AK: Looking at your paintings I see rays, waves and swirls of energy that emanate from the body, hands and eyes.Sometimes there is the suggestion of energy emanating from plants and animals.This all makes me think of the invisible world around us in nature, light and magnetic fields and worlds beyond.Are you interested in this invisible side of reality?
Hints of everything are here.I am interested expanding or activating more of my perception of the whole of reality exceeding the physical senses.I have always been interested, so far as I can remember, in the romantic, the mystic, the esoteric, the mysteries, the hidden and the illuminating.They are, all those aspects that escape, at first, any conclusive explanation.Anything about an energetic continuous pulsation has taken the stages would say in the last twenty years, in the making of a work and in what the work itself transmits.
AK: Is there a spiritual philosophy behind your art?
There ia sort of internal energy circulation that has been and still is at the core of my creative process and of what the viewer should make of it.The forms, colors,and themes inside my work spring from an extremely relaxed state where this energy constantly circulates within me and expands to the surface where I am working, almost becoming one. the sheer amount of this creative energetic field is enormous in its displaying possibilities, and brings me in a state of joyful,contemplative,meditative situation.all is solved immediately, no questioning
about what line, color or shape has to be made.I hope it brings the viewer to a similar state of mind.The flux and flow of the energy
circulating,as I feel it, doesn't have intention or will.Everything is solved and is realized in there.when you are entering or
participating in, you become it and no distinctions exist between you and that flow.You have become that circulating
energy too.It is like practicing a magical art or spiritual practice that aims to bring you to the highest level energy.
My work is indeed a "training".Just do it and do it again with the least effort involved.until eventually you
activate that blissful continuum.
AK: Some of your titles have a wonderful poetic quality.....Where do these titles come from?Are you
inspired by any writers or poets?
DZ: For the titles' start writing down words that suddenly comes up, while ham working or reading,
and catch my attention as though they want to suggest something to me that I don't yet know.Later on
i combine them....
AK: I imagine your work, which is filled with painstaking detail, must take so much time.How do you feel
about the experience of time when making your art? do you notice the passage of time while you work?
DZ: I often listen to music while working and that makes time into a rhytmic sequence than a mere
succession of minutes ticking by.Also,given the mantra-like quality of he details in many of my works,
iterations of sign-figures-lines-dots,time reaches a total slowing down in my perception, getting to a
"time-zero" points feeling of almost absolute focus and presence in the moment......
Alessandro Keegan:interview for SpeculativeArtResarch ,online magazine,
no.2 ,January 2019
ink-on-paper drawings offer
eye-seducing vistas of imaginary
worlds within worlds.They are
executed with the painstaking precision of
expertly crafted jewels.Each of his luminous images
resembles a large scale magnification of some kind of
unusual, multicolored specimen seen under a microscope,
revealing densely packed, semi-abstract,meandering ribbons and
patches of random patterns.If Zindato's compositions appear ready to
spill right off the surfaces of the sheets on which they are drawn into
self-generating,endless pictorial space, that well may be because the creative
impulse that shapes them is one that bemuses even the artist himself."I never start
a drawing with a particular composition in mind,"he has observed."Each composition
grows at his own pace,in its own way, organically".Zindato's work certainly has evolved
since he presented his first solo exhibition in New York,at the Phyllis Kind Gallery,in 2000.
At that time, his drawings were smaller.Large patches of color and his signature, symbol-like motifs figured those earlier pictures, but they wereless densely compacted than they appear today.
As his drawing surfaces grew bigger, the images he created on them did not automatically grow larger in scale, too;that is, he enlarged his compositions's background swaths of solid colors but he continued to render the lines and sizes of his repeated, random -pattern motifs-hands,eyes, snakes,heads,birds and more
-as tiny and as meticulously as ever.As a result, seen from a distance, Zindato's works of recent years read visually as rhythmic plays of abstract, colored forms.Up close, they pull viewers into thickets of finely elaborated patterns, made up of the artist's tiny figures, which are set against those dynamic fields of color... Zindato's own work today..with its strong formal vocabulary and an air of reverie, it is quiet and meditative.
Open-ended in form and meaning, his semi abstract images never shout.Instead,they whisper and hum, and the
artist has said that, when he is making his drawings, he feels as though he is in trance ,his creative energy
following the flow of his lines and his mark making as much as it propels them...Zindato is keenly aware that
his art has come to reflect a kind of introspective sensibility in its free-floating,hard to pin down blend of
allusions to ancient spirits and eros,magic and dreams, primordial forces and restless yearning, it may offers
viewers a soulful transcendent lift....As Zindato sees it, that essential, eternal,deeply human creative spirit
"expands and circulates even more when it is expressed through art; now through these drawings ,it can
touch viewers, who also become aware of it and bring their own creative energy back to the art"....
"Making these new drawings was a very nourishing experience",he says."this relationship between
myself and the creative force-of course it's present in the life of any artist, but now I'm more
consciuosly aware of it than ever beforehand,in a way, this awareness of this energy is the real
subject of my work"...
Edward M.Gomez:"Domenico Zindato:Recent Drawings"
essay for the exhibition catalogue at Andrew Edlin Gallery,
In ''Hands Across the Sea,'' Phyllis Kind, arguably the doyenne of the outsider art world, sets out to demonstrate that lots of American artists qualify for Art Brut, as defined by Dubuffet..... Especially noteworthy are the richly colored, exquisitely patterned images of Domenico Zindato, a young Italian based in Berlin, which are paired with an especially
dazzling selection of J. B. Murry's automatic writing...
Roberta Smith,"Art So
Out It's Almost In", NYTimes,Jan. 19,2001
Milan,Berlin,l'Inde puis le Mexique sont autant d'etapes de son parcours mais les racines de ses dessins obsessionels poussent plus loin, plus profond.Si la gamme de ses themes et motifs evoque tour a tour l'art aborigène, oceanien, voire précolombien,son oeuvre semble issue d'une transe qui n'est pas sans rappeler
les productions des createurs médiumniques de l'art brut.Sauf qu'a' défaut d'y
convoquer l'esprit des défunts ,Zindato ressuscite dans sa mystique enluminée
et fiévreuse le terreau brut et originel dans lequel ont germe' les grands mythes humains.
Christian Berst,from press release solo show at Objet Trouve',
Este es un proyecto individual que comprende 31 dibujos del artista realizados los últimos dos años (2014-2015).Radicado en Mexico, especificamente en Cuernavaca,el artista italiano ha desarrollada diferentes piezas en la que construye una larga narrativa sobre la naturaleza, la fuerza del espiritu y una búsqueda sobre lo trascendental,sobre lo que significa ser humano......
OB: ¿Por que' los paisajes de tus obras transmiten la sensacion de pertenecer a sociedades distintas a las de Roma,Berlin o Cuernavaca8ciudades en las que has vivido)?No me siento seguro del termino, pero la síntesis o el vocabulario pictórico que vemos en tus dibujos es casi "primitivo".
DZ:Seguramente hay algo de cada lugar donde he vivido que se traduce de experiencia a vocabulario pictórico a través de un proceso poético,psiquico e imaginativo.Tambien hay algo muy sutil a nivel material que toma forma en mis trabajos y eso es algo que no se relaciona a los espacio físicos. Creo que son mas estas "percepciones", "transmisiones" y "captaciones" que dan la sensación de algo primitivo o ancestral que también se puede encontrar en expresiones artísticas no occidentales.
OB:¿Que tan comodo te sientes con el termino Outsider Art,con el que muchos medios describen tu trabajo?
DZ: No pienso mucho en los términos que puedan definir lo que hago.Ousider Art creo se relaciona a mi trabajo en el sentido de ser un autodidacta y que visualmente haya similtudines con el proceso creativo a lo que ese termino se refieres decir un proceso intuitivo, no mediado y no relacionado al canon histórico de las corrientes
OB:¿Que tanto significo' la cultura 'rave'
para tu obra, originada en los años ochenta, un portal para un misticismo moderno?
DZ: Me siento afortunado de haber podido vivir y participar al comienzo de ese momento de la subcultura.Fue una experiencia de nivel energético elevadisimo y místico.algo tribal y algo tecnológico al mismo tiempo, un nuevo horizonte de conexiones psíquicas que estaban dormidas.
OB: Es posible decir que tus dibujos son la representación gráfica de esta nueva cosmovision occidental?
DZ: No siento que mis dibujos definan, o ilustren, una nueva conciencia o cosmovision occidental, pero si hay algo en ellos que percibo y entiendo como pasajes visuales que amplían,extienden o liberan.Aunque mucho de lo que esta' presente en ellos me es desconocido y no se' definirlo con palabras.
OB: ¿Se Puede pensar en tu obra como una forma artística de resistencia al afán
DZ: Mi obra invita a la contemplación...
Oscar Benassini,entrevista en :
"La Tempestad",Junio 2016,CDMX
Now Ms Kind is unveiling drawings by Domenico Zindato,her latest discovery of contemporary artist
whose work displays a strong outsider sensibility.
At her gallery, in Soho,Mr.Zindato's show will run concurrently with that of the Canadian painter Attila Richard Lukacs,whose big new canvases...could not be more different from Mr.Zindato's intimately scaled dreamscapes...Her office's walls, sofa and shelves are filled with drawings by outsider-at luminaries like Adolf Wolffli and Carlo and Martin Ramirez... "Attila introduced Domenico to me two years ago."
Ms.Kind said as her fingers waded through a sea of papers on her shiny black desk."I thought it would be interesting to present them simultaneously,to see how these two bodies of work might communicate with each other and what kind of energy people may feel between them."....."In Berlin Domenico and I hung out in clubs,"recalled MrLukacs,who keeps a studio in the West Village."that's where I met him and saw his work and once I started looking atria kept noticing all these fascinating little details"...."I caught up with Domenico when he visited New York in 1997 and showed me his latest drawings",Mr Lukacs said."Right away I thought Phyllis should see them".But the dealer was preoccupied with other business and could not immediately examine Mr.Zindato's portfolio..."They
literally sat in front of my door and refused to budge until I had looked at his work,"..Ms Kind recalled with mock consternation."finally,reluctantly,i did,
and I was bowled over.I recognized what I always
look for in a true artist's work, which is quality of technique, of ideas, and a unique personal vocabulary of form"....The soft spoken, introspective artist has described "a feeling of being in
a trance" whenever he paints or draws.His new works on paper were made with colored ink on vibrant pastel backgrounds.They are rich in fine-lined, evocative motifs, including snakes, eyes and headstand thickets
of dots, dashes and organic shapes reminiscent of decorative patterns in African tribal art....
Edward M.Gomez"Discovering Art With The
Aura Of the Outsider",NYTimes,Feb.20-2000
In un’intervista-conversazione più recente (in “Speculative Art Research”, 15/1/2019) Domenico Zindato ha detto significativamente che i paesaggi che più gli corrispondono sono «le cascate nascoste nella giungla più fitta». È probabile che la sua arte raffinata venga presentata come ‘outsider’ in quanto ‘illumina’ (nel senso dei manoscritti medievali) il lato più occulto della realtà, e si nutre della cultura esoterica del XX secolo ovvero di un pensiero laterale e minoritario. Considerando che le sue opere si trovano oggi sia in importanti istituzioni americane di arte contemporanea sia nei musei specializzati in art brut e outsider art (Phi- ladelphia Museum of Art;The Menil Collection, Houston; Milwaukee Art Museum, American Folk Art Museum, NewYork; Collection de l’Art Brut, Losanna; Whitworth Art Gallery, Manchester), abbiamo posto, a nostra volta, alcune domande all’artista per chiarire la sua posizione rispetto al mondo dell’Outsider Art.
Chi e' un artista outsider, secondo te?
Ho sempre collegato il termine "outsider" piutosto alla letteratura, forse per il romanzo "The Outsider" di Colin Wilson del 1956,dove si raccontava di un personaggio ancora un po' esistenzialista.Quando si riferisce all'arte, outsider,un termine che non utilizzo quasi mai, l'unico significato specifico che trovo e' quello di un inglesismo di "art brut,a cui associo soltanto gli artisti menzionati da Dubuffet.Quelli non inclusi da Dubuffet nella sua scelta mentre era ancora in vita, per me sono artisti senza altri aggettivi.Poi una volta visto il loro lavorassi può' entrare nella loro specificità'.L'essere autodidatta,le patologie psicologiche, la marginalità geografica o sociale.le peculiarità biografiche sono informazioni che mi interessano posteriormente.Un artista outside oggi e' l'artista con una visione unica, formalmente originale, il cui lavoro nasce da una necessita' interiore.Un artista che parte da un'esperienza personale, che filtra rinnovando qualsiasi influsso culturale, che sublima l'informazione in un suo proprio linguaggio artistico.Nel suo lavoro ,la tecnica, raramente accademica e con materiali che trovano anche qui miscele personalismi sembra sempre subordinata alla forza creatrice da cui si origina,una forza che non arriva diluita al risultato.
Come mai,nonostante i tuoi studi e le esperienze berlinesi, sei finito nel circuito dell'Outsider art e sei rappresentato da gallerie specializzate in questo settore?Il caso? le circostanze?una scelta?una sensibilità'?
Direi che tutto quello che menzioni ha avuto una sua parte.Anche se avevo già' esposto in gallerie d'arte contemporanea a Berlino e Parigi agli inizi degli anni'90, la prima galleria che ha mostrato i miei lavori a New York,
la leggendaria Phyllis Kind Gallery, una galleria d’arte contemporanea che era anche stata una delle prime appassionate promotrici dell’Art Brut e quindi in seguito dell’Outsider Art e di autori autodidatti, aveva considerato i miei disegni, quando glieli avevo presentati (attraverso il contatto stabilito da un mio amico pittore che esponeva con lei), pervasi dall’aura e dalla sensibilità che appunto aveva riscontrato nella sua già lunga carriera in molti artisti autodidatti e brut. Io sono di formazione autodidatta. Ma, credo abbia giocato anche un ruolo la realtà che verso la metà degli anni ’90, sia il piccolo formato dei miei lavori, il materiale, la tecnica, sia il loro carattere di esplorazione interiore, il dettaglio meticoloso, li rendevano estranei alla maggior parte dell'arte che si vedeva in gallerie, musei o nel cosiddetto mainstream.Rispetto ad allora, oggi,il disegno, la spiritualità'.l'esperienza interiore, l'autodidatta,l'outsider.l'artista dimenticato o sconosciuto, l'artista gia' di eta' inoltrata,l'artbrut.l'utilizzo di dettagli,i materiali e le tecniche non accademiche, sono molto piu' presenti, proposti,apprezzati e collezionati nel mondo dell'arte contemporanea (biennali,curatori,gallerie,case d'asta.Chiaramente e' una presenza
minoritaria e resta molto da fare nella promozione e nella valutazione critica,mantenendone la particolare unicità'.
Quale e' la tua posizione rispetto al sistema dell'arte?
Anche se non mi identifico con il termine "outsider",condivido pero' la sensibilita'meml'approccio creativo con l'arte che e' stata presentata e ancora oggi viene presentata, con questa etichetta di outsider art.Semplicemente la mia posizione e' inclusiva.
Come ti definiresti oggi?
Sono una persona che si allena-esercita ogni giorno con inchiostro,pasteli e carta su cui dipingere.
Eva di Stefano,intervista pubblicata su O.A.O.,