When did you first begin to see yourself as an artist?
After the 45th United States Presidential Election, I began seeing myself as an artist in the spring of 2016. After realizing the results, it was easy to feel voiceless about the concerns so many Americans had in terms of the future of the country. My art practice gave me a platform to visually voice these concerns and involve myself in a supportive space amongst other individuals who shared the same fears. Nasty Woman Exhibitions started a movement throughout the United States to raise money for various organizations supporting marginalized persons. I am grateful to have been a part of multiple shows with my work. I have met many incredible people and learned so much about the art industry through this trivial time attempting to make something positive out of a hostile political situation.
Where are you from and what was your upbringing like? How has this impacted your work?
I grew up in the suburbs right outside of Boston. My upbringing felt safe yet sheltered, coming from a generally quiet area and a small town. My family is extremely close, so growing up in the same surrounding as my extended relatives was a privilege. In regards to this, as I became older and went off to college, I always wanted to learn more about the world and experience so much more outside of my community. I studied abroad in Florence, where I had the opportunity to travel around Europe and eventually moved to England for my Master’s course at Goldsmiths. My upbringing has impacted my work because even though I came from a small town, I never wanted to feel like my voice had to be small. It pushed me to want to be myself authentically, voice my concerns in my art practice, and see outside my community.
Paint us a picture of your artistic journey. What inspired you to first pursue, and then continue to practice, artistic work? Was there a pivotal moment when you felt you were on the right track?
When I was in my college courses studying painting, politics inspired me to think critically about what I was making and how I wanted to display my voice in my visual work. At a young age learning about the technical components of painting, I also found it essential to extract my research from the news and media, learn about it, and then paint about it. Doing politically charged work energized me to keep me on track, to continue painting and learning about the complexity of the world around me.
What’s the message of your work? Where do they come from? How would you describe your aesthetic?
I have an obsession with rendering skin tone, it is hard to explain why, but I love the ability to render something that feels fleshy and raw. In addition, the message of my work seems to fit into the lens of empowerment in reclaiming agency that manifests in the female form. I also like to include satire in my work, using objects as metaphors.
Who/what are your greatest influences?
My most significant influences on painters are Chloe Wise, John Currin, Issy Wood, Jenna Gribbon, etc. I could go on. I love going to painting shows and seeing the hand’s intimacy of the artist. As I mentioned above, I have this obsession with the rendering of flesh, so seeing how others portray fragments of that in their own work inspires my own practice.
An unexpected source of inspiration?
Ironically working as a bartender has been a source of inspiration. Working in your studio can be quite isolating, especially when you’re not attached to an academic institution. The hospitality industry has been such a positive experience for me in terms of meeting so many different kinds of people that you usually wouldn’t come across and converse with about various topics. I have learned a lot about work ethic and being thrown into high-volume stressful situations. I have made some lifelong friends through hospitality and the constant social aspect of this job. Just learning about others has inspired my work.
What do you want people to take from your work when they view it? Do you have the audience consciously in mind when you are creating?
I never want to assume how people will read or view my work. As an artist, I intend to investigate a topic, visually represent that to the best of my ability, and allow my audience to develop their own opinions. Of course, the audience is always in mind because I believe that accessibility in my art practice is considered, but what I expect from my audience is just for them to enjoy what I have made and give them the agency to view my work how they see fit.
What events in your life have mobilised change in your practise/aesthetic? How has your art evolved? Do you experiment?
I haven’t lived in one place for more than a year over the past five years. With that being said, I’ve so many new incredible people, artists and non-artists alike. So, getting feedback and the opportunity to talk to so many different people about my work has pushed me on what I am creating and critically analyzing why I am making it. Goldsmiths, especially, has been such a profound experience in terms of the cohort I have the privilege to be a part of and see how others operate in their practice to then reflect on my own.
What are your ideal conditions or catalyst for creating a “good” piece of work?
This is a tricky question, I think “good piece of work” is a subjective phrase. Personally, I never feel any of my paintings are finished, so it is hard for me to stop and consider something good or done. But, on the other hand, I just love to create, so sometimes, when I put something away and move on from it, I can revisit a painting and see if I am satisfied with a fresh set of eyes.
Tell us about the inspiration behind one of your works?
Nasty Women was created as direct commentary to when Donald Trump referred to Hilary Clinton as a Nasty Woman during one of their debates. Politics aside, the feeling I got from him belittling a woman with such crude, and offensive language inspired me to reclaim some form of agency from it. The model’s gaze is directly engaged with the viewer, seated comfortably, grotesquely eating Cheetos. The power dynamic in scale is directly meant to be “eating his words”. We cannot control how others treat us, but I wanted to manifest in this work to rise from derogatory language and not tolerate it.
Something in the future you hope to explore?
This list could go on. At the age of 26 I hope I have a lifetime of new and exciting things to explore in my art practice and just life in general.
Describe your work in three words:
Fleshy, Charged, Ironic
What do you listen to while you work? Is music important to your art?
Honestly so many things, from rap music, podcasts, DJ sets, documentaries it depends what mood I am in. Sometimes I just want to listen to someone else talk other times I need high energy music to push through a session.
What is your favorite read?
Currently Glitch Feminism by Legacy Russel. It is an incredible book that speaks to the contemporary discourse of intersectional feminism and the digital space online.
Best piece of advice you’ve ever received?
Truly anything my mom says when I need advice on something. She is the most grounded and supportive person I know.
What makes you laugh?
Luckily my friends, I am fortunate to be surrounded by so many great people in my life.
What makes you nervous?
The realities of the world around us, it is hard to have a positive outlook on society sometimes when watching the news.
Is there anything you wish you were asked more often?
Want to go on a holiday?
Is there anything you’ve recently tried for the first time?
Stretching my own large scale canvases instead of purchasing pre-stretched. My hands hurt but it feels more rewarding.
Is there anything you’ve been hesitant to try in the past but you’d like to this year? Maybe doing some ceramics, I typically just work in 2D mediums.
Do you have any superstitions?
Yes, coming from Italian heritage, culturally we are full of superstitions. I wear specific jewelry that has been passed down through my family as a form of protection.
Would you rather know what the future holds or be surprised?
I have too many questions about the future if I think about it too much, sometimes ignorance is bliss.
What place in your everyday environment do you go to for inspiration?
Probably my studio, I have a large cohort at Goldsmiths so it is always activated with friends and critical conversations.
What are some things you’re most passionate about outside of your practice?
I really enjoy going to the gym, I think working out has been a great way for me to ground myself in my daily life to stay healthy and happy.
What is your relationship with social media?
Can’t live with it but can’t live without it.
