ARTMAJEUR MAGAZINE

ARTIST PORTRAITS

“RAMONA ZORDINI: I WANT TO MAKE THE TWO-DIMENSIONAL THREE-DIMENSIONAL”

My educational background is in graphic design, drawing, and photography. I started with drawing and photography, then experimented with sculpture and set design, engraving, sewing and embroidery, video, and electromyography. I have worked with paper and wood, resin, and fabric. I have explored many techniques, and there is still so much I want to learn.

What led you to create art and become an artist? (Events, feelings, experiences…)

As a child, I was an only child—my brother was born many years later—and I had a very painful childhood due to my father’s illness (HIV) and a difficult relationship with my mother. Many years later, I discovered that he was not my biological father, but that’s another story. My escape from reality was creativity, so I spent my time drawing, photographing, and engaging in many other activities that allowed me to dream.

What is your artistic background, and what techniques and materials have you experimented with so far?

My educational background is in graphic design, drawing, and photography. I started with drawing and photography, then explored sculpture, set design, engraving, sewing, embroidery, video, and electromyography. I have worked with paper, wood, resin, and fabric. I have experimented a lot, and there is still so much I want to learn.

What are the three aspects that differentiate you from other artists, making your work unique?

My main mission has always been to make the two-dimensional three-dimensional—to enter and sink into the artwork, to tear it apart and plunge into it, to open the surface and see what lies beneath. I believe this is a fundamental aspect of my work.

Another key element is the synergy of different techniques working together. In my creative process, I always use more than one technique. For example, in the cyanotypes I am currently creating, I sometimes incorporate drawing, the suminagashi technique, or decorative elements with other pigments.

The last aspect concerns color. Over time, I have developed a personal color palette that I consistently use. In my latest project, the palette has become darker due to technical requirements, but the colors remain the same.

Where does your inspiration come from?

I draw inspiration from everything around me. I often take walks to clear my mind, read a book, or watch a movie, but most of my ideas come to me at night when I am alone in the silence.

What is your artistic approach? What visions, sensations, or emotions do you aim to evoke in the viewer?

I don’t feel the need to evoke a specific sensation in the viewer because I strongly believe in the concept of an open artwork—one that can be freely interpreted without constraints. However, in general, I like my works to convey a sense of sacredness. This is why I use specific colors and image compositions that express this idea. Beyond that, my work revolves around change and evolution, so I don’t imprint too much of myself in statements of intent, nor do I title my works—I want them to remain open pages to be written.

What is the creative process behind your works? Is it spontaneous or does it involve a long preparatory phase (technical, inspired by classical art, or other influences)?

The creative process of my works can be described as a dance between the idea I have in mind and the experimentation itself. First, I choose an image—one that, at that moment, sparks ideas and emotions in me. Sometimes, I revisit images I have had for years, while other times, it’s a freshly taken photograph. Then, I begin to observe and imagine. I have a very vivid imagination, and I often spend hours envisioning all the possible scenarios.

Once I decide how I want to begin, I prepare the sheets and start tearing them—this marks the beginning of experimentation, as even the slightest modification in each step can change everything. This part of the process can last days or even weeks. I keep layering and testing until I am satisfied, constantly making countless trials.

Do you use a particular working technique? If so, can you explain it to me?

I primarily use the cyanotype technique, but most of my work focuses specifically on toning. We are used to seeing cyanotypes in blue or, at most, in sepia tones, but in reality, this technique allows you to cover the entire color spectrum, and the process is truly exciting. Lately, I have been particularly focused on tricolor cyanotype and agamography.

Are there any innovative aspects in your work? Can you tell us what they are?

As I mentioned in the previous answer, tricolor cyanotype is one of them. Despite the venerable age of this technique, it remains an experimental process that very few people practice. Then there’s agamography, a fascinating optical illusion technique that I find very interesting.

Do you have a specific format or medium that you feel most comfortable with? If so, why?

All my pieces are 15 × 21 cm in size. For me, this format is perfect—it’s small and manageable, large enough to work on yet compact enough to be practical. I would like to create larger pieces, but only on commission, as I don’t like the idea of them just sitting here taking up space. In recent years, I have been trying to clear out my storage as much as possible.

Where do you create your works? At home, in a shared studio, or in your own workspace? And how do you organize your creative process in this space?

I’ve always had my studio at home, but lately, my space has shrunk since I had another baby. So, I’m thinking of opening an atelier, but it’s still just a budding idea. Order is not my strong suit, and often, the sinks at home end up filled with prints drying—for everyone’s patience! The mental process, cutting, and assembling all take place at my desk, which is my small but vital creative space.

Does your work lead you to travel to meet new collectors, attend fairs, or exhibitions? If so, what do these experiences bring you?

Yes, I have traveled a lot for this reason. Recently, I’ve been more stationary due to my pregnancy, focusing more on creating. I have to say that even in this period of less travel, I’ve managed to build new connections and projects with people and organizations that appreciated my work online. For someone like me, who doesn’t particularly enjoy being in crowds, this can actually be a positive thing.

How do you envision the evolution of your work and your career as an artist in the future?

I’ve made it a rule not to imagine my future career to avoid unnecessary anxiety. I prefer to focus on the present and what I want to accomplish in the next five days. This approach allows me to maintain a rhythm in my work and avoid expectations. If I have to picture myself in the future, I see myself full of wonder—but perhaps that’s more of a wish than a prediction.

What is the theme, style, or technique of your latest artistic production?

The theme is the one that runs through my entire body of work: change! Working on change is like chasing a fish and trying to catch it with bare hands. I believe it is a true existential paradox because your very search evolves, your thoughts evolve, and nothing remains the same. Therefore, working on change means working on the very concept of life. This work is called Guideline Routine to emphasize that art represents the present, and the present is nothing more than a series of choices marked by a rhythm in time. As for the technique, I have already discussed it extensively.

Can you tell us about your most important exhibition experience?

I’m not sure—there isn’t, in my opinion, one experience that stands out as more important than the others.

If you could create a famous artwork from art history, which one would you choose? And why?

I would probably choose a painting by Bosch or The Dressing of the Bride by Max Ernst, for their surreal aspects and the lenticular precision with which they were executed.

If you could invite a famous artist (living or dead) to dinner, who would it be? How would you suggest spending the evening?

Definitely Roger Ballen—I adore him! I would love for us to spend the evening drinking something and talking.

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