REDMILK INAUGURATES THE JULY ISSUE WITH SOME GIFS CREATED EXCLUSIVELY FOR US BY THE ARTIST SARA BONAVENTURA. SHE HAS A PASSION FOR THE AUDIO-VISUAL UNIVERSE SO SHE GRADUATED IN CONTEMPORARY ART. NOW SHE WORKS AS INDEPENDENT VIDEOMAKER. DISCOVER THE EXCLUSIVE INTERVIEW.
Tell us about Sara, the woman and the artist.
I am a restless person. I believe that the woman-artist combination is often synonymous with restlessness. In the past and in many of my past works there is obscurity and tension towards the light. Although now I’m beginning to see when I need the shadows or when I do not, light does not exist without shadow, so the tension remains.
What is the meaning of the light in your daily life?
I was born close to the summer solstice and I love long, sunny days. I am weather sensitive, I tried living in the North but I missed the light too much, I worked in an atelier called Raggio di luce, ray of light… Light is something invisible and totally visible, a paradox, life. Every day I try to face that paradox, I try to escape from the darkness that is always pursuing us. Speaking of my daily life… Recently I was looking at painting by a child who had drawn a ladder in the middle of a sheet, surrounded by a black spot. He said he had drawn a ladder to go down into obscurity. If you look into darkness you will always see something, as Yeats said, in other words, light can get also there.
The use of color is very clear in your work.What does color represent for you?
Picking up on your previous question, color is a spectrum of possibilities, of choices. And choosing is dangerous.
Describe your work using three adjectives.
Experimental, empathetic, fragile.
Why you are the subject of your creations? Why did you choose to take center stage?
I don’t know if I chose, really; I am never portrayed in my commissioned work. I am before and behind the camera in some of my personal works, elusive and anarchic; when some fleeting ideas come to my mind I try to seize them like that.
What are your passions besides art?
I cannot list many that fall outside the realms of culture, from cinema to literature. I believe culture is fully art. I don’t know if I can call it a passion but I have always loved to travel, also when flights are canceled and I sleep in airports finding a suspended inner time, time to read, write or watch a movie, precisely.
A woman’s metamorphosis and search for her inner self seem to be a key element for you. What can you tell us about it?
Yes, I believe that change is vital. Right now I am working on a documentary looking for the origin of that metamorphosis; I work with very young girls, I follow them through various seasons in a forest that changes with them. A cyclical time in which our fickle time is inserted, and increasingly more impacts on cycles that we believed were everlasting. I’d like to brush against the origin of such awareness. I believe the time has come for a more mature work. (https://www.foresthymn.com/ )
Drawings and video: tell us about this combination.
I’d like to draw a lot more but I ended up doing more and more videos. I wanted to do animation, frame by frame, but I don’t have the time. Or maybe it’s just an excuse, to deal with a many-sided, very agile and flexible means, that of video. Something has remained of the drawings, most of the times I do not follow a script, like when I used to draw.
What do you wish to convey to the viewer, directly or indirectly?
I never ask myself. I think I want to convey intensity, but it’s not a strictly communicative goal, it’s rather what I’m looking for in life.
What are the creative steps you take to carry out a project?
It really depends on the project. If it’s a collaboration we work together, but actually I work with people I can relate to, rather fluid in the process, capable of improvising. Which does not mean there is no method in it. Also in a recent collaboration, still unreleased, with painter Ester Grossi, we ironically called ourselves the two Nazis. You need to have a structure when improvising. In this collaboration, on a video, like in other personal work of mine, we started from books, moodboards, inspirations, to guide us, that are evocative and are not prefixed.
The eye is a recurring symbol in your videos. What does it mean and in which ways it is different from the other senses?
In the subtle and rhizomatic atmosphere we live in, the eye is more manipulated than the other senses and we have lost most of its symbolic value. So? I try in vain to evoke lost symbols.