1. Let’s start with a simple question… why do you go by Tenia?
To be honest, it was not me who chose this pseudonym.
My best friend from high school used to call me so ironically, for a very trivial and uninteresting reason to unveil. With time, however, this pseudonym has acquired a meaning for me ever more relevant.
He recalled my immoderate condition and need to obtain visceral energy from my dreams and obsessions, with the sole purpose of increasing my creativity.
I identify myself, therefore, as the guest of myself, a parasite that feeds on its intuitions and fantasies to rebuild and transform a new way of looking at things.
2. Is it correct to say that you belong to the “pop surrealist” current?
If we take into account the fact that the only galleries that have opened their doors to me are occupied only, or in large part, by artists belonging to the Surrealist Pop movement, this detail may perhaps already answer the question.
If it depended on me I would not belong to any movement or artistic current. I do not generally like definitions, labels and fashions, they only create blindness and barriers between groups and people.I feel very connected, in artistic terms, to the dreamlike and fantastic imagery of the Surrealist movement and a little less to the aesthetic principles of Pop culture, but the visual languages are so many and all mixed together that perhaps almost everything is now of figurative matrix and expresses an unbridled imagination, it is automatically incorporated in this movement.
So yes, willy-nilly I think I’m part of it too.
3. Looking at your works there is one thing that immediately catches the eye: the eyes 😊. Why this attention to this specific part of the body?
The eyes belong to that category of figures that have always haunted and fascinated me, guarding the language of the most intense communication code that exists.
They are a hallmark of our identity, they narrate our experience, show the road that leads to the human soul.
The eyes therefore deserve special attention, they are the small detail, the place where I transfer and hide, every time, a small fragment of myself.
4. Traditional painting and digital painting … what does one give you that the other doesn’t (and vice versa)?
Digital painting lacks that warmth, those smells that emanate the supports, materials and tools of traditional painting. Unfortunately, there are certain physical perceptions during the creative act that digital will never transmit.
This obviously does not imply that, when the work is finished, the digital work is not able to spread the same emotions of a traditional work, despite its lack of tangibility.
On the contrary, the traditional tools that allow the artist to work with much faster times, to diversify and sometimes to facilitate the creation process, are eliminated, eliminating all the difficulties that analogical supports entail.
Digital is nothing more than a new means of divulging and expressing our ideas and fantasies.
It is simply part of a new artistic process and a change that must be accepted and welcomed with curiosity, above all avoiding preconceptions.
5. Your images seem to travel through the same topic; choice of style or innate creativity?
During the creative process I try to perform a kind of cathartic ritual towards the sensations that dominate my emotions.
In a certain way, I do not choose what to create, I get inspired and overwhelmed by these ideas / fixations rooted in me, which manifest themselves in different forms.
The only desire, therefore, is to transpose these visions into a more concrete, visible and recognizable composition, so as to be able to finally free itself.
6. Who are your mentors and how important it is to know the artists of the past?
No artist can afford not to consider everything that other authors have done before him.
Knowing the artists of the past and the present also allows us to find the artist who lives in each of us.
I have no particular mentors to mention, I feed daily images of all kinds, but I prefer to maintain a certain detachment with the works of others to avoid certain stylistic contaminations, although it is conscious that it is impossible to avoid being influenced by the artists who esteem and talk originality is now useless.
In these 2 years, however, I am trying to get out from inside what is more honest and pure, with the hope that my work will be able to represent me in the most faithful way possible.
7. What would it be another field to discovery and learn in digital art, and why?
Although at the moment I have approached more traditional artistic means, 3D is definitely a design environment that has fascinated me for years. I hope to find as soon as possible the time to study with the right continuity and learn to digitally sculpt. The reason is simple, I have a continuous need to apply myself to new artistic techniques to expand my skills and give continuous rein to my creative need.
Thanks again for your availability and see you soon! 😉