SNEM

 © SNEM

© SNEM

PLEASE, INTRODUCE YOURSELF. WHAT'S YOUR BACKGROUND?

I grew up in a provincial environment, where there were very few motivations and basically I was spending most of the time drawing and painting. In 2003 I started doing graffiti and kept doing it for the whole high school period, for a while I've also been working as an assistant in a sculptor studio. I was attracted by unusual things, by what is bizarre and grotesque, I was really enjoying cinema and I used to study directors like Švankmajer, Lynch, Cronenberg and Korine, fascinated by movies like Elephant Man, Otesánek or Naked Lunch. Which, later, inspired my imaginary.

HOW DID YOU GET IN TOUCH WITH ART?

I think my interest in art started during high school. During those years I was attending an older girl enrolled at the academy of fine arts and I used to skip school, spending the mornings sneaking into classrooms to follow the lessons.

SO YOU STARTED WITH GRAFFITI AND TAGS, WHAT MADE YOU CHANGE DIRECTION AND USE MEDIUMS SO DIFFERENT FROM THE SPRAY CAN?

During university, my attention moved elsewhere, many things changed, like loves and friendships and I stopped painting for more than one year. Anyway, around 2011, I saw Exit through the gift shop, that gave me the input to start again. I got over graffiti, which wasn't stimulating me anymore, so I abandoned spray cans to experiment other techniques, like posters, suddendly realising that streets was exciting but also a proper stage.

 © SNEM

© SNEM

 © SNEM

© SNEM

WHAT ARE PROS AND CONS ABOUT USING THE PUBLIC ENVIRONMENT TO EXHIBIT YOUR WORK?

An interesting aspect about working on the street is the precariousness of the interventions, in my opinion is a daily reminder, it reminds me the importance of not sticking to things, just like tibetan mandalas that, once completed, get destroyed, to underline the non permanence of human things. Working on the streets allows you to get more visibility, especially when you act illegally, because it's like promoting yourself without paying municipal tax. Anyway, you also have to deal with a space that is used by everyone and independently by your purpose, every act has a political implication.

HOW MUCH PLANNING IS BEHIND YOUR INTERVENTIONS? I CAN IMAGINE, BASED ON YOUR TECHNIQUE, THAT YOUR WORK NOW IS LESS IMPULSIVE THAN THE SPRAY CAN ONES.

I usually work on a project, making a series of artworks with the same concept, to then move on a new project and so on. First, I try to read as much as I can, studying themes that I am interested in, I make sketches, I look for spots, I prepare everything and in the end I go down into the street, at least for what concerns sticking.

ARE YOUR PUBLIC INTERVENTIONS ALL ILLEGALS OR THERE IS SOMETHING AGREED WITH PUBLIC AUTHORITIES? IS THERE A DIFFERENT CREATIVE APPROACH?

It did happen to work with some municipality or private citizen and, obviously, things change, the process is somehow altered because you have to deal with other people, tastes, rules, requests, revisions and censorship.

SINCE YOU DON'T TEND TO TIE TO MUCH TO YOUR ARTWORKS, DO YOU THINK THIS MAY HELP YOU PUSHING BOUNDARIES OF CREATIVE PROCESS AND MOVE ON NEW IDEAS AND SUBJECTS?

Absolutely yes, it's a condition that forces me to not bound myself to what I do or give to much importance to ideas. In the last years, especially, my imaginary changed a lot both in contents and aesthetics. Also, the fact that most of my artworks does't exist anymore made me realise how much this logic is necessary for changing.

I don’t aim to a specific target. People are receptors in a shared network and, from the moment I create an artwork, I am meeting an urgency that reflect the needs of a group, so I am myself part of that target.

THE POSSIBLE AUDIENCE THAT MIGHT GET IN TOUCH WITH YOUR WORK, DOWN THE STREET, IS ENORMOUS AND HETEROGENEOUS. DO YOU THINK AT A CERTAIN TARGET WHEN MAKING AN ARTWORK? WHAT TYPE OF REACTION YOU AIM TO PROVOKE?

I think it's funny to observe passers by reactions but I don't usually have many expectations about this, I don't aim to a specific target. People are receptors in a shared network and, from the moment I create an artwork, I am meeting an urgency that reflect the needs of a group, so I am myself part of that target.

 © SNEM

© SNEM

 © SNEM

© SNEM

DO YOU SEE, IN YOUR TRIDIMENSIONAL SCULPTURAL WORKS, JUST AN AESTHETIC EVOLUTION OR NEW CONTENTS ASWEL? WOULD YOU LIKE TO TALK ABOUT THE CHANGING?

In the last years, I moved away from figurative disregarding realism research, giving space to casualty and spontaneous gestures, forming amorphous figures that brought to get rid of volume illusion. After some years I started using 3D software again, that basically define 3d forms in a simulated space, but what made me use this softwares again is the appeareance of calculation errors in this applications. In other words, I was fascinated by the weakness of a perfect interface. In July 2017 I participated to an artistic residency in Cosenza, where I had the opportunity to develop this research which realised as Informe, a project that appears as amorphous structures installed in a public context and moved into a virtual space thanks to 3D scanning, trying to create a connection between reality and simulation. During the process, unexpected and out of control results get generated and this made me get close to the concept of Art Brut and, recently, take back again the spray can to make graffitis, realising that probably aesthetic and contents are inseparable.

FUTURE PROJECTS?

By the end of the year I will release a self production in collaboration with Federico Casella and in 2019 I am organising for a personal show, probably in Turin.

ARTMichele Molinengo