Today we are back with another In the Studio with the artist!
Anna and Maryna visited Vincenzo Zancana's Studio in Milan a couple of weeks ago and here are some of the topics we discussed during our encounter.
Vincenzo Zancana, visual artist born in Salemi (Sicily) studied at the Accademia di Belle Arti of Palermo and then continued his studies in Milan where he attended the Accademia di Belle Arti di Brera.
His experience in Anversa where he obtained his Master's in Printmaking at the Royal Academy of Fine Arts opened his career to new experiences making him a part of ATTIVA and REPLICA - two very important italian art magazines.
Chàrōn is one of his favorite projects, navigating environmental issues in the south of Italy and became part of his research as artist.
What was your first step in becoming an artist?
Gaining experiences abroad surely helped me start my career. Having the chance to see things from an international point of view and participating to artistic residencies allowed me to better understand what it meant to be an artist.
How do you define yourself in the creative industry?
It is quite difficult for me to define myself within one category but if I had to choose I would define myself as a photographer with a deep interest in sculpture.
What is indispensable while working in your studio?
I do not have a specific method while working in my studio, it depends on the projects that I am working on. Surely I have a strong analytical side that comes in the way whenever there are other external factor distracting me. However, I think that while working in my studio I need some free space where I can see clearly.
Who are your favorite artists and who are the ones that built your creative imaginery?
While I was studying at the Accademia I took into great consideration Boltanski, Kentridge, Kiki Smith, Kiefer and Song Dong as I admired their memorial approach in the process of making art. After that, I was also fascinated by the artistic research of Mona Hatoum, Sarah Lucas and Jana Sterbak.
My creative imaginery was also built from Monica Bonvicini, Nicolas Lamas, Kasia Fudakowski and Lucia Leuci's vision.
I took into great consideration Boltanski, Kentridge, Kiki Smith, Kiefer and Song Dong as I admired their memorial approach in the process of making art.
I was also fascinated by the artistic research of Mona Hatoum, Sarah Lucas and Jana Sterbak.
Tell us more about your commitment regarding environmental issues. How is that tied to your art?
My interest towards environmental issues began in 2017 when I met Francesca Mussi and Marta Di Donna. Together we carry on Chàrōn - a series on collective interventions that deal with natural dynamics analyzing the contemporary anthropocene. Our intention is to awaken public attention through contemporary art activating open dialogues with the viewer without accusing anyone. This kind of method is surely present in my own research and specifically, it concentrates on the concepts of living space and inhabitant - regarding not only alterations of the ecological processes but also cultural, environmental and memorial changes.