“Every time I want to feel like it is the first time I paint, as if I am incapable of painting”
AT: Where are you from and how/why did you start engaging with art?
LC: I come from Villa d’Adda, a small village close to Bergamo but I studied in Monza and Milano, where I moved while I was studying for my MA at Brera’s Academy. There, I met my Mentor, Vincenzo Ferrari. Before meeting him, my idea of art was just a passion, like it could be for a young girl. Looking into Vincenzo’s eyes and considering his approach towards me at that time, I saw something was possible. Especially when it came the day he asked me to be his assistant.
AT: When did it become serious?
LC: When I started to work with Vincenzo Ferrari, I was completely involved with art. I was working for him 3
days a week and he gave me the chance to spent the rest of my spare time in my atelier. Basically he gave me the chance to be a full-time artist.
AT: Are there any person who has been significant in your breakthrough as an artist?
LC: Vincenzo, clearly.
AT: What is your first approach to the work? How would you describe your practice?
LC: It depends. If I decide to paint a new canvas, firstly comes the canvas; I cut it and then I watch the white canvas hung up on the wall. Then, when I’m tired to think and imagine, I paint onto it.
“Chôra” installation view – Boccanera Gallery Trento Italy 2019 | courtesy Boccanera Gallery
AT: What are your favourite tools and materials for working?
LC: My oldest and newest brush. I like all the brushes I collect- also the ones not properly made to paint.
AT: Do you leave your work open to interpretation? Or do you think the viewer should engage with your work in a specific way?
LC: I believe the viewers are absolutely free to see what they want in my work. (my view-point is the correct one, for me)
AT: What do you feel while you work? Do you usually think about the final outcome beforehand?
LC: Every time I want to feel like it is the first time I paint, as if I am incapable of painting. I want to paint the single touch of brush. The result comes as a consequence.
AT: How do you understand that a work is finished?
LC: When I abandon it. It means it doesn’t want to be touched anymore.
frottage_08,| 2019, double canvas indivisible, (recto) oil on canvas with oak frame, 182 x 97 cm | courtesy Boccanera Gallery
frottage_08,| 2019, double canvas indivisible, (verso) oil on canvas with oak frame, 182 x 97 cm | courtesy Boccanera Gallery
AT: Where does the inspiration for the work come from?
LC: I think “living” can be the best answer.
AT: Are there any artists who influenced your works? Why?
LC: I am in love with Antique art and I could mentally refer to the history of art but I usually try to work on what I’m doing, as if I’m the only one doing it.
AT: How important is the role of social media for you?
LC: I think they are useful for many reasons, but I use them badly.
frottage_Madonna delle rocce, oil on canvas, 64 x 44 cm, 2019 | courtesy Boccanera Gallery
frottage_Madonna delle rocce, oil on canvas, 64 x 44 cm, 2019 (detail) | courtesy Boccanera Gallery
AT: As an artist, what is your point of view about the contemporary art system?
LC: It’s a market and an artist should find his/her way to deal with it.
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?
LC: To manage my time, my work, my daily life. This is rewarding, challenging and daunting at the same time. I have almost the same pleasure to paint my best painting or to cook something special for someone if I am in need to.
AT: What do you do besides art?
LC: If I exclude cinema, music, visiting cities, museums, churches and places connected to art, dinners and meeting with friends connected to the art and the poetry world.. well, I eat, I breath, I join the people at the bar close to my atelier (not directly connected to art) and recently I watched a Basket match.
AT: What are your goals and expectations for the future?
LC: To keep on going with my whole life of being an artist, working with few good people I can trust; with the goals of managing my time, my need, buying a new house, a big one, having a huge atelier, having more stability, having a dog, a kid or more than one, being rich, marrying someone, having a house at the countryside, and finally having a (not too long) good life. If it sounds too much, I’m fine with the first and the last sentence.
Installation view – “polyptych” five canvases recto/verso, 2019 | courtesy Boccanera Gallery
Linda Carrara was born in Bergamo (IT) in 1984. She lives and works in Brussels (B) and Milan (IT)