Artist Interview: Michela Muserra

Michela Muserra is an artist who was born in Italy and now currently lives and works in New York City. She has presented her artwork in feature and group exhibitions internationally. Most recently, her work could be seen on display at the Venice Biennale (as seen in the last image below). In the midst of creating a new body of work, Muserra was kind enough to take a few moments to answer some questions about her life as an artist and the work she is driven to create.

Unconditional Love

Q: Before we talk about the content in your work, I would like to discuss technique. In the past, you have incorporated painting, drawing and collage (along with other elements) into your works. Is there one that you prefer? Do you see your future work moving towards one of these mediums, or will it continue to be a mix of mediums?

A: The basic technique I always use is drawing. I am not sure in which direction my work will move. I usually don’t question myself too much on this point. Especially, if we are only talking about technique. I enjoy exploring different mediums. This usually happens when I am bothered by something I am doing and I suddenly feel the urge to play with something else. These, however, are just temporary breaks from my true love, which will always be drawing. Lately, I had a lot of fun with stickers. But they are too cold, inanimate, and without energy to carry an entire piece of my work.

Saint Sebastian and Kakura

Q: How do you feel about putting oil on canvas?

A: Well, oil is a medium that never truly conquered my heart. For two reasons, it smells bad and it takes forever to dry. I am unfortunately not that patient when it comes to making art. When the idea of a new work arises in my mind, I feel the need to put it down on paper right away, and hopefully see the final result within a very short period of time. Some people may view this as an immature aspect of my work. I see this, instead, as a way of retaining the idea’s original energy. Also, I like the idea of finding non-traditional mediums. Sometimes even a dry marker can give unexpected and exciting results!

Pink Diamond

Q: I see issues of sexuality mixed with absurd fairytale-esque, pop culture elements populating the landscapes of your work. Is this correct, and if so, what drives you to speak about these topics so often in your work? What other issues and/or ideas are important elements in your work?

A: Correct. When I start a new work I usually have couple of concepts in my mind. However, it is never well defined from the beginning, and usually even the message I am trying to send out will take shape while the work is in progress and will become clear to me only at the end. What I am trying to say is that all these ideas or issues that people may see are usually not intentional. But I admit that those themes you mentioned are usually present in my work. Mostly, I just try to let myself be. Therefore, I think that these elements are somehow part of my inner visions. I never plan all this. I see all that when the work is done. It’s like understanding the meaning to a dream you had the night before.

Omens

Q: You have told me before that you were born and raised in Italy. What role, if any, does that fact play in your art making? Also, what impact did moving to the United States have on you as an artist?

A: Moving to United States was definitely essential to my work. I grew up in a small town in the south of Italy and there is usually not too much going on down there. My eyes were always looking outward. Here in the States, I am constantly able to quench my thirst. Though, I should mention that my background affected my work, in terms of symbology and allegory, which are constantly present in my art. I am still carrying with pleasure the ‘heavy bag’ of my native culture.

LOL

Q: There is a clear use of what could be interpreted as commercial illustration in most of your work. What do you enjoy most about walking that fine line which currently exists between commercial and fine art?

A: It’s funny I had never questioned myself about this in the past. I was doing illustration but in fact I thought I was doing art. Then things slowly changed in the art world and I found myself showing my work in galleries and finally enjoyed the ego-bursting satisfaction of people taking me ’seriously’. Even though I am still just having fun and nothing has really changed for me since the time I was 5 and had a pencil in my hand for the first time.

Light Formula

Q: Have there been any teachers, curators, critics, family or friends who have helped you or influenced the way you make art?

A: My family, or mostly my mom, who never truly believed in a successful economic outcome of this “profession”, definitely helped my determination to grow drastically . As children, I feel we always want to get the approval of people we love. This ‘disapproval’ gave me the strength to keep doing what I wanted to do and show myself and others that it is possible to live a dream or just even give it a chance. Another person who influenced my work is one of my teachers that I studied with while still in Italy. He introduced me to some Eastern philosophies, symbologies and mysticism that definitely pushed my work in the direction which it is now going. Recently, Italian critic Ivan Quaroni and a well know gallerist in New York, made me seriously reflect on several aspects of my work and on myself as an artist. I am still working on this.

Kissing goodbye before leaving this dimension

Q: Who are some of the artists working today that you admire?

A: Yoshitomo Nara is the first one that comes up into my mind. He goes straight to my heart every time I see his work. Also, I am lucky enough to have had the pleasure of working with some very good artists from Italy. There are also many other artists that I respect from all over the world. I recently bought, for a very reasonable price, a couple of original drawings. One is by Sidney Pink and the other by Sean Morris.

Thank God I got bandages

Q: Other than other artists, what inspires you to create?

A: Many of my works come directly from music. Also people, and whatever else I see and experience around me. A word or a phrase that I hear from a stranger passing by, can inspire a new work. More than anything, however, I would have to say myself. I am very introspective. Maybe too much at times. Thank God I can at least put everything down on paper.

Michela Muserra

Q: What did it feel like the first time you exhibited your work to the public? How do you see the art world today versus when you were just starting out? Also, what differences do you see between what is happening in Europe versus what you see happening here in New York City?

A: If I remember correctly, the first time I showed my artwork was in a gallery in Milan. I remember I was coming from New York, and I had landed the same day as the opening. Unfortunately, Fedex didn’t make it (even though my work was send 20 days before), so my work wasn’t there and the only thing anyone could see was a tag on the white wall with my name on it. I felt like a ghost, which was a weird but pleasant feeling for some one little and shy like me. As far as the art world, I see it as constantly changing. It goes so fast that you can barely realize when it reaches the next step. I see a lot of artists getting more aggressive, as some of them are only looking for fame. The New York City art world is a zoo. I have always seen Europe as keeping it’s artists on a tighter leash. I don’t really believe in national identities, and this is why I think artists should travel as much as possible to see that the outside world is not like the little nest they grew up in. This is of course based on personal experience, and is not a universal point of view. I am referring directly to my Italian situation.

Michela Muserra’s artwork on display (far right) at the 2011 Venice Biennial

Q: You have exhibited your work in some terrific galleries both here in the States and internationally. If the past is any indication, your future seems very bright. With interest in your work seriously growing, and your inclusion in the most recent Venice Biennial, things seem to be going very well for you. Do you have anything coming up that you are able to share with us?

A: I am superstitious, so I will pretend I didn’t hear that last question.