Lucrezia Abatzoglu: “There’s a sense of urgency as I strive to translate my innermost thoughts onto the canvas. An ‘‘economical attitude’’ grows between these ideas, details are replaced by rapid gestures, movements and sensations in which I am forcing the viewer to decide what are they looking at.”
How and why did you start your artistic career?
My artistic journey began in my early years, deeply influenced by my upbringing in a creative household. Surrounded by art, particularly due to my mother’s profession as a painter, I naturally gravitated towards experimenting with oil colours and sketching from a young age. As I grew older, my multidisciplinary approach led me to pursue a Bachelor’s degree at the Accademia di Costume e Moda in Rome, where the vibrant atmosphere of the academy, combined with its picturesque location, provided endless inspiration and further fuelled my artistic ambitions. This drive ultimately led me to pursue a Master’s degree in Fine Arts Painting at Camberwell College of Arts, part of the University of the Arts London ( UAL). The opportunity to delve deeper into my work in a dynamic and diverse environment helped my practice to expand and evolve. For me, art is an essential element of my identity. It is a driving force that compels me to explore, create and innovate, making my artistic journey an integral aspect of who I am.
How did you discover your medium and why did you choose it?
As previously mentioned, I exposed to drawing and painting from a young age, and this early exposure provided me with the opportunity to experiment extensively with oil colours, which quickly became my primary medium of choice. What draws me to oil painting is its versatility, fluidity and the slow drying time of oil paints provides me with the opportunity for greater manipulation and refinement of my work. I am particularly fascinated by the way oil colours blend and interact, allowing for a wide range of expressive possibilities. Whether creating textured, dry or smooth effects, fluid transitions, oil painting offers a flexibility that resonates with my practice. In addition to oil painting, I also enjoy experimenting with watercolours, inks and gouaches, I am interested in their fluidity and the intriguing ways in which they reach and blend with each other.
Can you talk about your creative process? How does your work come about? How long does it take? When do you know it is finished?
My process delves into the intricate connections between painting, drawing, sculpturing and playing around with fabrics. I explore identity, space and physicality, expressed through a visual language. The themes that tickle my curiosity are feminism, identity, moulds and rules coupled with the interplay of reality and imagination. I have a vast tapestry of references that feed my work, lately, including Italian renaissance, art povera, Italian frescos, Pomeii’s ash-casted people and many more post war and contemporary figures in art and cinema. When I prepare to begin a painting, my process typically starts with a period of intense contemplation, during which I visually assess the size and proportions of the canvas. This contemplative phase allows me to grasp the vertical and horizontal dimensions of the confined framework. Next, I consider the atmosphere and tone I wish to convey, drawing inspiration from previous sketches and explorations documented in my sketchbook. These sketches serve as a repository for my recent thoughts and investigations, guiding my initial approach to the painting through mark memory. As I apply the first layers of washes and begin to sketch with brushes, my compositions record a speed-making process, driven by memory and instinct. Flattened backgrounds are suddenly animated by emerging figures, their presence bursting forth unexpectedly. I feel almost in a rush to translate my inner thoughts into the paintings. There’s a sense of urgency as I strive to translate my innermost thoughts onto the canvas. An ‘’economical attitude’’ grows between these ideas, details are replaced by rapid gestures, movements and sensations in which I am forcing the viewer to decide what are they looking at. I strive to maintain a balance between intuition and responsiveness towards the painting itself during the creative process. While I trust my instincts and intuition, I also listen closely to the painting. I allow the artwork to guide me, patiently waiting for it to communicate when it is complete.
Who are your favorite artists? Which ones are you inspired by?
There are countless artists and creatives who continuously inspire and influence my practice. Among them, a few standout figures have particularly captured my attention in recent times. Domenico Gnogli’s work has deeply resonated with me, especially his seemingly flat paintings that reveal layers of depth when experienced in person. His ability to evoke such complexity within seemingly simple compositions is truly captivating. Anthony Gormley, has consistently inspired my exploration of the human body and form, and its relationship to space. He challenges my notions and prompts deeper contemplation of our physical existence.
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