Giuditta Branconi


“I don’t want to get bored, I would like to paint everything, every world, every emotion, every style”

AT: Where are you from and how/why did you start engaging with art?

GB: I’m from a small town in Abruzzo. I have been drawing ever since I was a child, drawing for me is a natural act.


AT: When did it become serious?

GB: Nothing serious, but I’m working on it.


AT: Are there any person who has been significant in your breakthrough as an artist?

GB: Friends, lovers, professors and Massi, the director of LUPO, my gallery.


AT: What is your first approach to the work? How would you describe your practice?

GB: I start by reflecting on something I have read or seen, I try to identify a subject, an element I would like to work on and in the meantime collect images. I compose scenes, which at times seem far removed from initial suggestions but this is my way of analysing them; looking around and not directly. At that point I turn the canvas around and work with the back of the painting.

Voglio imparare a dire la verità, 2022, Oil on canvas, 110×90 cm

AT: What do you aim to reach with your work?

GB: I don’t want to get bored, I would like to paint everything, every world, every emotion, every style.

AT: What are your favourite tools and materials for working?

GB: Very thin canvases and oil painting.


AT: What do you feel while you work? Do you usually think about the final outcome beforehand?

GB: I often feel enthusiastic, precisely because I have no idea what the final outcome will be.

AT: How do you understand that a work is finished?

GB: When the deadline comes. If it were up to me, I would never finish any painting.

è proprio così (o nella febbre tu mi inganni), 2022, Oil on canvas, 180x50cm
Voglio imparare a dire la verità, 2022, Oil on canvas, 110×90 cm

AT: Where does the inspiration for the work come from?

GB: I think from everyday life, from books, songs, films, the news, but I think what interests me most are those primitive and primal passions that animate us, the moment of tension and excitement that precedes.


AT: Are there any artists who influenced your works? Why?

GB: There are so many artists and works of art, I cannot but mention Malevich who changed my approach to art.


AT: How important is the role of social media for you?

GB: It is a deformed mirror in which everyone wants to look at themselves, it is interesting and fun, plus part of my archive comes from there.


AT: What is your opinion about NFTs and their impact on the art world?

GB: Sometimes I have the impression that rather than an artistic media NFTs are more a matter of economics, of possession. I think the physicality of the work is stimulating, for me for example it is fundamental. I think NFTs are one more option that does not undo centuries of art history.

Un odio senza quartiere (dx)
L’incertezza è il suo regno (destra)

AT: As an artist, what is your point of view about the contemporary art system?

GB: It is the misfortune of many and the luck of a few, I think sometimes we are a bit too naive.


AT: What do you find to be the most challenging or daunting thing about pursuing art? What is the most rewarding part of working as an artist?

GB: As far as I’m concerned, I sometimes find it tiring to work at a frenetic pace, the impossible schedules, always trying to create artworks that satisfy me. The most beautiful thing is delivering the work to the world, getting it out of the studio.


AT: What do you do besides art?

GB: I don’t really do much, I read a lot. I am learning to sew…


AT: What are your goals and expectations for the future?

GB: We shall see..

Giuditta Branconi, Les Filles Terribles, 2022 | Exhibition view at L.U.P.O.
Giuditta Branconi born in Sant’Omero, IT (1998). She lives and works between Milan and Teramo, IT. Branconi’s (chaotic, turbid and howling painting is a coexistence of discharged colours and vivid masses of paint that outline shapes by scratching and consuming the surface. The works are characterised by a sometimes erotic, sometimes deranged atmosphere, suggested by the poses and attitudes of the characters. Through the use of strong colours, funny attitudes and a lively composition, Giuditta’s painting is noisy, shrieking, capable of screaming in the eyes of the viewer.