Michela Martello

ARTIST STATEMENT

Most of my work is connected with the idea of intimacy, I have strong visions, some in my dreams and some while awake, these visions comes from within me, persist, push and push, until I find the appropriate support mostly made of vintage materials ranging from Japanese textile to used US military canvases, linen, embroideries, papers, woods. I am inspired by eastern philosophical symbology that I re-elaborate and by an imagery from Mediterranean basin that belongs to my culture of origin, often with a spiritual and decorative dimension. I believe I need to express my profound intimacies without actually revealing them, or rather what I would like to reveal with my work is the mystery of intimacy. I exploit nature and animals, people, and ritualistic objects, symbols which carries magic and mysteries, opposite cultures and religions.

Interview with Michela Martello

Can you tell us a bit about your background and how you became interested in becoming an artist?

Since my first life memories, I was 3 years old, I expressed the desire to be a “ Paintress “, it was and is part of my essence. I have always followed the natural course of my artistic inclination without ever having any doubts whatsoever, even though growing up as woman artist in Italy in the middle of the eighties was seen as a very difficult and strange choice to make, that probably explain why I always dreamed to be living in New York. In Milano after the high school of arts, I wanted to enroll at Brera Painting Academy, but due to strikes caused by a very chaotic political situation, the offices were always closed, Therefore in order not to lose the school year I enrolled at the Europe Institute of Design to study illustration. After the completion of my studies I worked as an illustrator for about ten years collaborating with an English publisher, until I decided to abandon the illustration world to devote myself completely to painting. The need to express myself freely was stronger than the attention for the fruition required for an illustration.

However, over the years I have realized that illustration helps me rather than hinder me, creating a structural support in my artistic research, especially when I explore the universality of symbols, as if attention to detail freed the springboard into the unknown.

Can you tell us about some of your most memorable early influences?

There are so many, the firsts to transmit to me the desire to enter their world, emulate it and merge with it were Paul Klee and Marc Chagall, followed by the art nouveau and aestheticism movement, with particular attention to Aubrey Beardsley, then entering the wonderful world of the Pre-Raphaelites.

The fauve movement, the Blu Rider movement, some elements of Arte Povera, Leonora Carrington, Giorgio Morandi, Carol Rama, However in the early years of my studies the deepest influences I believe are and remain Van Gogh, Frida Kahlo , Giotto, and fresco painting from the middle ages to most ancient pigmented walls murals in Tibet and Ladakh.

Where are you currently based and what brought you there? Are there any aspects of this specific location or community that have inspired your work?

Now I live in Bedford Stuyvesant, I have always dreamed of coming to live in New York, a deep desire that I have had since I was a child, rationally inexplicable perhaps because it was totally instinctive. Since I moved to America, the first 15 years I lived in Manhattan and then moved to Brooklyn 10 years ago, part of me always wants to go back to Manhattan and the other part of me is in love with Bed Stuy, as usual, I live inside a lovely conflict.

Everything around me inspires me continuously and infinitely. I think Bed Stuy has a genuinely raw energy that keeps its folklore channel flowing, this is something very important to me, no matter what folklore we are talking about, but the genuine essence of a neighborhood’s character kept raw and alive is an essential nourishment for my life.

What is your studio space like? What makes your space unique to you?

My studio occupies the entire first floor of my house, I have a back yard with a bit of lawn, some plants, a small garden and various cats, Bed Stuy tutelary presences. In my studio there are various books that inspire me, my amulets, incenses, and a variety of tools that allow me to be at my best and at my worst. In my studio I can reach a certain level of intimacy that can’t easily happen anywhere else.

What is a typical day like? If you don't have a typical day, what is an ideal day?

I don't have an ideal typical day, sometimes I think I would like to establish a routine, but I haven't been able to until now. There are days I work better early in the morning, other days only after 5 in the afternoon, however I prefer the day to the night, and there isn't a day that goes by without work and without my presence in the studio. Working at home sometimes I feel the lack of giving vent to the body, in the sense that I develop a bit of laziness, that is the moment in which I have to activate myself with physical exercise, I like to dance, walk, and meditate to recharge my mind. Actually, answering to this question make me realize that the ideal day would be the one where I kindly accept the ups and down of my moods allowing me to create without self judgment.

What gets you in a creative groove or flow? Is there anything that interrupts your creative energy?

symbols and dreams are the biggest source of my inspirations.

also visions that appear during my meditation practice. What gets me in the groove can be a Giotto's fresco painting a book of Tibetan or eastern esoteric illustration , in any case if I feel stuck my books help me a lot, especially images related to the middle ages, a walk in nature, a shape of a tree, Haruki Murakami and Banana Yoshimoto, a fabric pattern, a textile assemblage, and exhibit, a museum visit, drawing/doodling.

What instead causes a certain block are social media or too much computer work, everything that is digital, however much it may also be a source of useful information for my inspirations, is undeniably vampire-like in my energy field.

How do you maintain momentum in your practice?

When I am super focused and the inspiration flows, the first reaction is to leave, run away, I’ve learned over the years to embrace this thrilling moment, to stay still, breathe deeply for a few seconds, only moving the brush, and to ask the most beautiful question I’ve discovered recently ‘’How can it be even better then this ?‘’

What medium/media are you working in right now? What draws you to this particular material or method?

Right now I'm in transition between a series of drawings I made during a month in Brasil in close contact with nature, using pencils, tempera, ecoline, pastels and various recycled papers, some of these drawings are also studies for upcoming larger paintings, although in general I don't do many preparatory drawings before starting a painting, but in Brazil I concentrate on the drawing side, it helps me to recharge from the work indoor at the studio and to get more in touch with nature.

I also sometimes work with yarn, knitting, stitching and embroidery, it’s good for my mind and soul, it’s a domestic tool I inherited from my mother and grandmother, right now I am knitting a new piece which I’ll integrated with found wood collected in Brasil.

Can you walk us through your overall process in making your current work? Does drawing play a role in your process?

Now in the studio I will start a series of ceramics and paintings on recycled materials and textiles that I have collected during travels, and also here in NYC. I am eager to start this new series of works, I love to paint on these materials, perhaps the memories of these fabrics mix and inspire my visions. I will open a new cycle inspired by various symbols I stored during a recent art residency in Taiwan and visions appeared in my dreams and meditations. Drawing is not paramount in my painting process but it is definitely well connected with the working progress.

When I have a vision for my next work I can’t really wait for a series of sketching to be definite, I almost need to attack the painting right away, although I do few drawing jest on paper which are almost ritualistic giving me permission to step on the fabric with a perspective void, and a full instinctual force. Drawing lay in between paintings, they become connecting rings of creative training and small size artwork which at times surprise myself for their artistic outcome.

What is exciting about your process currently?

The curiosity to explore new symbols with new stylistic and narrative solutions where I feel that I can, indeed I must be more confident in myself. I find it very exciting to connect with this part of myself where the thread between inspiration and the movement of the brush stays together and flows unhindered. Eventually to be able to really SEE and have a dialogue with my work, it's a challenge that excites me a lot.

Can you talk about some of the ongoing interests, imagery, and concepts that have informed your process and body of work over time? How do you anticipate your work progressing in the future?

Further developing the universe of symbols through possibly always new artistic interpretation is what I hope for my work. it is a very broad answer, because for me the sky is also a symbol, such as an archetype, a myth, an anthropological reference. Developing painting, drawing, textiles and ceramics with different signs, methodologies and means of expression is the basis of my research by creating a universal language by bridging symbols that are opposite both in terms of cultures, ages and geographies, so that they can enter my unconscious and the collective one.

Do you pursue any collaborations, projects, or careers in addition to your studio practice? If so, can you tell us more about those projects, and are there connections between your studio practice and these endeavors?

In the past years I have worked a lot on art commission doing many murals and illustrations, now I have become more selective, I try to avoid commission that are too commercial, and if an offer respects my artistic vision then I accept, but I prefer not to sacrifice too much of my studio time.

I acknowledge and thanks, however, that it is healthy sometimes to be dragged out of the studio thanks to offers of artistic collaborations. At times I also lead art workshops for children and for people with learning disabilities, teaching in these environments is an activity that makes me discover a world full of possibilities, a reality check, a way to be in contact with alternative creative channels from mine.

Have you had any epiphanies recently that have changed the course of your work or caused you to shift directions?

Perhaps my epiphany is made up of many small meditative experiences.

meditation leads me over the years to an energetic openness and in contact with my spirit which undoubtedly help the creative channel to receive the muse. Being in contact within myself leads to events that present small and big surprises, not exactly shifting my directions, rather deepening and amplifying it.

Can you share some of your recent influences? Are there specific works—from visual art, literature, film, or music—that are important to you?

Recently what influenced me the most was my art residency in Taiwan, at Siao-Long Cultural Park. the cultural world of Taiwan is very rich in an absolutely equanimous spiritual folklore, everything is allowed, respected and practiced, both ancient and contemporary artists are wonderful ! I came back enriched and inspired also by the kindness and sense of solidarity that one breathes, and above all by such a generous attitude where it is evident that the individual is happy if the collective is happy. This attitude had a great influence in my life and I am sure it will translate somehow in my work.

I am also influenced by Japanese literature, Haruki Murakami and banana Yoshimoto, are magic to me, Dante symbolism of the Divina Commedia, Eugenio Montale’s poems, some books of David Foster Wallace go way beyond literature mastery reaching pure soul, Simone de Bovuair, Rilke, Maugham, I like reading biography especially artists life, watching French movies from the Nouvelle Vague, listening Brazilian music, rock, funky and spiritual chanting from different parts of the world.

Who are some contemporary artists you’re excited about? What are the best exhibitions you’ve seen in recent memory and why do they stand out?

Ohh there are so many,

Carol Rama, Maria lai, Nalini Malani, Chen Chin, Yasuko Yokoshi, Cecilia Vicuna, Mary Frank, Betsy Damon, Francesco Clemente, William Kentridge, Anselm Kiefer, Carrol Dunham …. And more

Most recent I’ve seen two outstanding event; in Taiwan at Siao-long Cultural Park the exhibit “Fantastic Temple Troupes On Clouds Pilgrimage’’ With graphic design, video art, sculpture, folkloristic objects, contemporary art, worshipping and sciamanic vibes , deeply evocative ! And in Kyoto a NOH ( Japanese theatre ) performance, which hypnotized me, this form of art is the most original performance, It calls all members of the NOH ensemble and of the audience to join our attention and imagination to realize a magic moment of creation.

Do you have any tips or advice that someone has shared with you that you have found particularly helpful?

When things get tense and dense I like to remember buddha’s words ‘’ Life is a dream ‘’

What are you working on in the studio right now? What’s coming up next for you?

I’ll be showing this summer at 2 group show , one at Visitor Center in Newburgh and during UpstateArtWeekend in Kerhonkson with a small group of women artists, I am also excited about a solo show I’ll have at Tibet House Museum in NYC this coming fall, and I’ve been invited to exhibit at the Soncino Biennale in Italy late summer , still to be decided. For these project I’ll be working on new pieces, painting and ceramics, and I will also include some past and recent work.

To find out more about Michela Martello check out her Instagram and website.