Video (Mixed digital media)
Who exactly is Christian Zanotto?
Good question, but do you really think I have an answer for that?
Well, I can tell you that I’ve been working on it for a long time and when I look at my artwork that’s where I can find traces and clues of it, of who I am…
Talking about your creative work, when did you first realize that you were an artist?
I can recall many moments in my life in which drawing and building have been of great importance to me, but my first notion of being an artist became clear when I was at the elementary school, where I came across the concept of “poetic licence”, and I’ve been endlessly fascinated ever since.
How did you continue your studies?
I’ve always been keen on art, starting from the high school at the Istituto d’Arte to the Academy of Fine Arts in Venice. But my research still continues each and every single day.
When exactly did technology become part of your artistic process?
I’ve always been attracted by computers, actually I think I’ve owned all sorts of computers, from the oldest models on, but most of all I’ve always been fascinated by calculators, quartz watches, robots and lunar expeditions… I started including all this material in my creative process while I was attending the Academy in Venice and all this has become a means through which I could mix with my paintings, sculptures, photographs and my video making knowledge.
What about your choice of figurativeness?
Through working with figures, particularly human figures, I’ve found that it is like working in front of a mirror; and the human body is pretty much connected with the concept of “eroticism” which I believe is the key to reach and enter the innermost and primitive side of the human being, a place from where all thoughts, sensations and reasoning originate.
I satisfy my need for abstraction by creating structures, systems or imaginary and whimsical machines… Mechanisms and gears fascinate me!
Where do you get your ideas and inspiration for your artwork?
The planning phase is exclusively mental: it’s mainly a visualization process which I then concretise and render in a 3D virtual space, working as if I was on a theatre stage (with postures, costumes and scenic objects); I’m always driven by curiosity towards the process of “evolution” and by that peculiar sensation of disorientation and astonishment provoked by the transformation of mental imagery into digital form. That same evolution process leads me to the analysis of the scene created and then to the reabsorption of it, by means of an inverse process.
Can you tell us something about digital images: how do you make them compatible with an exhibition area?
The design phase plays an important role in my creative process: when there’s no projection or video animation of an object/art piece then it requires a careful and coherent study which crosses both the image itself and the means. For example, in my “Horlogerie Exquise” exhibition, I opted for the photographic transposition of digital images onto large crystal sheets, framed in fibreglass structures.
What feeling generally moves you the most?
The sense of relativity and a mixture between time and space, the lack of coherence characterizing any ego disconnected from reality and the consciousness that there are no certainties or absolute judgements, a disorienting and disarming sense of freedom in which I can maintain my lucidity and equilibrium.
How would you describe yourself?
Very much alive and enchanted.
Is there anything you want to say to our readers?
I would like to thank them, hoping they will find a logic in what I have tried to explain and an interest in my artwork. At the same time I thank you for your questions, it will be very interesting for me to read this interview, where maybe I’ll spot a hidden part of me… See you soon, and thanks again.
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