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What inspired you to create artwork and become an artist? (events, feelings, experiences...)
As far back as I can , I was in kindergarten when it hit me. It was probably the first time I was in front of a big screen and the cartoon that was shown literally captivated me. From that moment on, I think I always wanted to create, draw, paint... It was a random cartoon, a simple illustrated nursery rhyme. From adult memory, I think it was "there was a little ship". (laughs) The anecdote is rather ridiculous but it is true.
At that time, my schoolteacher considered me a gifted student and I didn't participate in activities like the other students. She even sometimes asked me to go on stage with her to teach class. I didn't like her very much; she scared me. Things were different today, and even though my parents reported her behavior, the kindergarten protected the teacher, who ended up in a psychiatric hospital a few years later.
Drawing was probably a way for me to protect myself, to take refuge while the other students practiced activities in which I was not allowed to participate.
What is your artistic background, the techniques and subjects you have experimented with to date?
My artistic journey is rather chaotic because, you see, I am color blind. I always had the ambition to become an artist, but this anomaly posed a problem for me. Without a doubt, today everything seems possible, but when I was younger, it seemed complicated to me that my work could be recognized knowing this.
Although I was accepted twice to a fine arts school, both times directly into my second year, I felt that being colorblind would prevent me from succeeding and that I was somewhat usurping my place at that school. So I didn't follow up.
Despite this ime, I tried many techniques and I also followed a literary baccalaureate specialized in Visual Arts. I therefore have knowledge of Art History that I deepened in university because I went to classes without being ed. I practiced: gouache, acrylic, oil painting, red chalk, charcoal, chalks, pastels... I tried many techniques.
What I prefer are clear lines and sweeping brushstrokes. I always build my work around a subject. They must be varied, sometimes risky, so I try every idea that comes to mind.
What are the 3 aspects that differentiate you from other artists, making your work unique?
First of all, I have my own style. It's very important to have your own graphic style. It's your trademark, it's what connects a work to its author. At a glance, the two come together and find each other. It's obvious.
Then, I work a lot on my subjects. I always try to be in tune with our times. It's important that art spreads our experience of life. Our times must resonate through our works, just as the painter's life resonates through them.
Finally, there is something in my compositions that often es for surrealism because they tell a story. They all offer a pictorial narrative.
Where does your inspiration come from?
The life.
What is your artistic approach? What visions, sensations, or feelings do you want to evoke in the viewer?
My artistic approach is clearly more about interesting than pleasing. I'm concerned with aesthetics, but beyond the technical aspect, it's secondary. Being colorblind forces me to think differently. The viewer doesn't see the world as I see it unless I consider color to be non-essential. Obviously, I'm looking for harmony, but it's unique to me. My approach is therefore based on the intellectualization of painting.
What is the creative process of your works? Spontaneous or with a long preparatory process (technique, inspiration from art classics or other)?
My creative process is quite simple. In general, I develop the idea and configure it visually in my head. I may occasionally make a small sketch of the main lines, but this is very rare. Sometimes, I need to go for a run of about ten kilometers to delve deeper into my subject and the universe developed. Once the composition is established, I prepare my background. It is not systematic that I place my subject on my canvas. I can visualize my background and find something interesting there that I will use to make a first draft and in some cases cover everything because it does not meet my expectations. I do not persist in a direction if it does not suit me. I do not prohibit myself from spontaneously composing certain elements, it is even very common. Each stage of the canvas is marked by times of reflection and contemplation essential to my artistic accomplishment.
Do you use a particular working technique? If so, can you explain it?
I don't use any particular working technique other than my memory. I very rarely use a model and generally only observe the broad outlines. My technique is observation and especially the memory of shapes, colors...
Are there any innovative aspects to your work? Can you tell us what they are?
My graphic style, with its clear lines and thin, overlapping layers that interlock for a unique and cohesive look, is recognizable by its distinctive French flag.
Do you have a format or medium that you are most comfortable with? If so, why?
I paint on canvas because it's obvious to me. In the past, I painted on cardboard, it's not the same, it's fragile. The canvas holds well, you can move it easily, to observe your work in a mirror and see it from a new angle. It's practical and safer. The format doesn't matter to me, but I it I like large formats, there's more to tell.
Where do you produce your work? At home, in a shared studio, or in your own studio? And in this space, how do you organize your creative work?
I work in my living room. I've dedicated an office to my painting so it's always available. I'd like to have a studio, but I'm not there yet, maybe one day soon.
Does your job require you to travel to meet new collectors, for trade fairs or exhibitions? If so, what does it bring you?
Unfortunately, I have not attended or traveled to any trade fairs or exhibitions where I would have exhibited recently.
How do you imagine the evolution of your work and your career as an artist in the future?
I don't like to project myself into a futuristic ideal. I imagine that my works will find their audience and that they will allow me to launch myself as a professional. I am aware that I still have a lot to accomplish and that I must make efforts to socialize myself through Art for my Art.
What is the theme, style or technique of your latest artistic production?
I finished two paintings on the same day. (laughs) I'm going to talk about "The Gorgon Medusa." I chose this theme because I decided to do a series on mythology. Through this first painting, I wanted to reestablish the truth about Medusa.
Often portrayed as monstrous in cinema and just good enough to make you lose your head, Ovid's writings describe a very different mythological reality: Medusa, with whom Poseidon fell in love, was raped by him, and Athena, whom she worshipped, punished her out of jealousy by transforming her into a gorgon. Nothing could be more unjust, and I wanted to do her justice.
Medusa emerges from her cave and leaves her victims behind to return to the lands of her past and reveal herself to the tearful viewer. I emphasized her power and the abuse she suffered with ripples in the landscape. I also slipped cloud shapes among the rocks to accentuate the mythological aspect and play with the reality of the place.
Can you tell us about your most important exhibition experience?
Unfortunately, I have no personal experience of a recent exhibition that might be of any interest.
If you could create one famous work in the history of art, which would you choose? And why?
Picasso's "Antipolis or the Joy of Living." It's extremely simple. It's both surprising and unreserved; it exudes the joy of living, it's astonishing. I love it.
If you could invite any famous artist (dead or alive) to dinner, who would it be? How would you suggest they spend the evening?
I will invite René Magritte and suggest that he spend the evening with me to talk about his painting "The Treachery of Images."
I love this painting; it's exceptional, but it hasn't reached the entire population, which is regrettable. We too easily give credence to "fakes" these days.
I would ask him to help me find another idea to fight against these "false truths."
Olimpia Gaia Martinelli 
