She defines herself as a “visual poet” and in her works prevails a style that evoques the Scandinavian and Japanese imaginary. This time, the Italian artist Elisa Vendramin designs the Magazine Horse logo and interprets it to capture a winterly air.
MAGAZINE HORSE: Your works are provided with a singular beauty, how would you define your style?
ELISA VENDRAMIN: At the moment I like to call my way of working “visual poetry”, since I’m try to capture a certain mood or a certain atmosphere with it, rather than portraying a specific subject or scenario. All my art is a research of beauty. In particular, I’m very fascinated by the beauty of unpredictable contrasts and dynamics that could thrive by playing with abstraction.
There are a lot of birds and flowers, why these elements?
I guess there’s an evident component of beauty in both these elements. Also, since I love complexity in nature, I’m immediately drawn to these figures and intrigued by the possibility of deconstruct them into abstract illustrations.
Tell us, what project do you feel most proud of?
Every project I did had its own challenges, so I’m very pleased when I look back and see a great variety of collaborations, with broad techniques and extremely different goals. Obviously, all the projects related to Iceland, and its landscape, are particularly dear to me since they belong to a very intense period of life. In fact, while I was living there, I had the chance to really discover this place and, at the same time, without realizing it, also getting to know myself better.
“I love complexity in nature, I’m immediately drawn to these figures and intrigued by the possibility of deconstruct them into abstract illustrations”
What / who inspires you?
I get inspired very easily by daily discoveries, just strolling around, observing the surrounding. Certainly traveling has been a main source of inspiration for me and that’s why I make an effort to travel in very different places such as Burma, India, Israel and so on. I’m also very much attached to artists that work with vivid color and abstractions, such as Joan Miró and Anish Kaapor.
How did you promote your work?
In the past few years I’ve tried to spread my work as much as possibly in the web, sending samples to blogs, online portfolio’s website, online magazines and so on. I must say that this approach did pay back! Though right now, since I’m targeting a more sophisticated industry, I’ve designed a printed concertina to introduce myself and my work, with the idea of physically send it to whom I’m really interested in working with.
You exhibited your work in several countries: when do you feel it had more success or what kind of public are more receptive?
Is hard to say. I think my work is very specific, and intimate, therefore either it talks to you or not. The appreciation of it really depends on the singular viewer’s approach, rather than on a general public one. Certainly, there is a reference to both a Scandinavian and a Japanese imaginary, but this doesn’t necessarily imply that the appreciation of it is facilitated in any these places.
“I’m very fascinated by the beauty of unpredictable contrasts and dynamics that could thrive by playing with abstraction”
What ideas do you have for the future? Where will your work go?
I have no specific plan for the future: I try in fact to be always open and receptive for new and sudden collaborations. I would certainly like though to explore further more the field of products and decorations, possibly having the chance to play with different materials and surfaces, combined with printing techniques and maybe collaborating with artisans or small productions. I guess the plan for the future is: experimenting!
What do you think about fashion? What is your personal style?
I don’t really follow fashion too much. Let’s say, I have my own style, also in clothing, that I would define elegant and minimal, and I tend to stick with it. Certainly, I’m always surrounded by a lot of blue!
Traductor: Raquel Sánchez