Anna Marzuttini (Gemona del Friuli, 1990) is a painter who lives and works between Cerneglons (UD) and Venice. In 2018, she earned a MFA in Visual and Performing Arts with a major in Painting at the Academy of Fine Arts in Venice. During the past years she has participated in several workshops and collective exhibitions organized by Atelier F, curated by Professor Carlo Di Raco. In 2017 she took part in the collective exhibition of Graphic Art "Look at me as much as possible" at the International Gallery of Modern Art, Cà Pesaro (Venice). In 2018, she obtained a studio at Fondazione Bevilacqua La Masa in Venice. In 2019 she is one of the three recipients of the Combat Prize in the Art Tracker section that leads her to participate in a collective exhibition, together with Giorgia Valli and Clarissa Baldassarri, at Lucca Art Fair 2020.
How would you define your artistic practice and what are the themes you investigate?
I believe that a fundamental characteristic of my artistic practice is instinctivity. In the moment the brush comes into contact with the canvas I must feel interested in some form but, at the same time, free from other responsibilities, otherwise the thought and the sign stiffen, losing the spontaneity which, in my case, I believe is an essential factor of my work. I take the most reasoned decisions away from the picture, without inhibiting the most expressive gestures.
The main theme I investigate in my work is the "wild", understood as what is unruly, rough, thorny, inhospitable. I am attracted to everything that is far from human artifice, as far as possible. I am fascinated by the naturalness in which life has always developed and how it would continue to develop even without the presence of mankind, taking unpredictable paths. I am very interested in organic forms. They give me the opportunity, through drawing, to externalize and archive aesthetic information which is then reworked within the space of the canvas, creating new small mental worlds.
When did you decide that you would have been an artist?
I don't think I've ever really decided. I think that somehow, I had no other choice. I always had a clear predisposition towards manual skills and drawing has always been a spontaneous activity, a necessity. So, after the Scientific High School, I decided to enroll in the Academy of Fine Arts in Venice, where I discovered painting, which over time has become my main occupation.
You studied in Venice: how has this specific context influenced the definition of your work?
Venice was a fundamental stage for the definition of my work. Beyond the fact that I had the opportunity to live for years in a city of art, cultural exchanges and full of stimuli, if I had not attended the Academy of Fine Arts and specifically the Atelier F, the course of Professor Carlo by Raco, maybe I would never have reached the same awareness of painting that I have today.
It happened almost by chance, and I was lucky: I found a very educational and stimulating environment, dynamic and based on the peculiarities of people. Thanks to the Academy, an excellent concentration of talented young artists was formed in Venice, of which a large part, after completing their studies, decided to stay in the city sharing spaces where to continue working and maintaining a network of different realities. This has also been possible because of the specific shape of the city that, being on a human scale, favors the relationships between its inhabitants.
Your practice includes painting and illustration. Are there any common interests or directions? Are you also experimenting with other techniques?
Painting and illustration for me are two different but somehow bordering languages. Being an applied art, illustration is characterized by an intrinsic narrative aspect with which an illustrator must confront, while painting must be a free expression, pure research and experimentation.
For me, painting is a long time practice, which means that it takes longer to understand and metabolize it, and it is unpredictable because the result will never be what I had in mind but it will always be a surprise. Otherwise it would be limiting.
In the illustration, also thanks to tools such as the digital world, an image can be modified several times, in a controlled way, until the desired result is obtained, giving a very little space to chance. Furthermore, the illustration has a purely figurative and narrative nature while in painting these aspects, in my case, are not revealed.
I try to carry on both disciplines in parallel and they feed on each other. Thanks to pictorial research, my approach to illustration tries to be more experimental both in terms of language and technique and, on the other hand, illustration helps me to have a more rational and precise vision in the elaboration of an image. Lately I am also intrigued by other techniques, such as sculpture that I would like to put into dialogue with painting.
In addition to the participation in the next edition of Lucca Art Fair, what plans do you have for the future?
During the whole month of February I will participate in a workshop organized by the Malutta Foundation at Spazio Punch in Giudecca (Venice). I would also like to take part in some artist residences, especially abroad. In the meantime, I continue to work, as always.
- CampoBase Team (Irene Angenica, Bianca Buccioli, Emanuele Carlenzi, Gabriella Dal Lago, Ginevra Ludovici, Federica Torgano, Stefano Volpato)
LUCCA ART FAIR - ART TRACKER
May 15 -17 - 2020
Casermetta San Frediano, via delle Mura Urbane - 55100 Lucca
T +39 3311303702
Friday 15 May, 5.30 pm to 8 pm Saturday 16 May, 10 am to 8 pm Sunday 17 May, 10 am to 8 pm