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.

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.

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.

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.

Linda Carrara was born in Bergamo (IT) in 1984. She lives and works in Brussels (B) and Milan (IT)
 

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