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The beautiful indefinite bodies according to Inmotulus


IN HER WORK, INMOTULUS IMAGINES THE BODY AS A CELLUAR UNIT WITH INDEFINITE CONTOURS, IN A CONTINOUS STATE OF METAMORPHOSIS, WHICH ARE DECOMPOSED AND RECOMPOSED GIVING SHAPE TO DIFFERENT PHYSIOGNOMIES, IN A VIBRATION THAT WANTS TO BE CONSTANT AND ALIVE. THIS IS ALSO REFLECTED IN THE PSEUDONYM SHE USES: IN-MOTULUS, REWORKED FROM THE LATIN “IN MOTU”, MOVEMENT.






How did your passion for drawing begins?


After a difficult period in my life: in short, I didn’t understand what my role was, my “direction.” But thanks to drawing I was able to overcome it . I’m talking about ten years ago: from that moment I haven’t stopped, I kept drawing, every day.



What is your work about?


My work is based on transformation. The forms I design are never fixed, they change constantly and are born from a need to develop an aesthetic, something that defines who I am, that positions me in a certain role and also gives me a certain power. We talk about transformation, but also about the pleasure and emotional impact that my works can convey.



What are the artists you were inspired by?


There have been many, seen in books or on social media, and in a moment of experimentation discovering works like Nemo’s has allowed me to get in touch with authors coming mostly from the world of illustration, comics, street art, especially festivals.



How do you deal with social media?


I mainly use them as a tool to spread my works, to study other authors and also to update myself on self-publishing festivals.





What are you currently working on?


I am about to set up a print shop with a friend of mine (known at a festival by the way) where we will do screen printing. We are aiming to do collaborations and then get to have all those materials that will be needed for festivals. Then I will be on an internship at a graphic art workshop called Press Press, where I will deepen the various printing techniques with people who are much more experienced than I am. I’m also planning several festivals, where I will have a chance to strengthen that network of contacts I’ve already made.


Is there any author you would like to recommend?


I would start with comics and recommend Percy il Buio, which I think is a great way to understand how I see art making. Add to that the Zanna Dura's workshops or even the Cheap Festival in Bologna. I would also mention Ema Johns, Noemi Vola, Celine Guichard, Blu, Ericailcane, Sbrama. There are so many, and it is very difficult to make a selection.





An off-topic curiosity. How did you choose not to reveal your name nor to appear in public showing your face?


In my case, my name doesn’t refer to an identity, but to a concept, which is that of the movement. So, I chose something that would emphasize my work, that I could disassemble a little bit that idea we have of the artist, of authorship, that sometimes leads you to focus on the same style. My name is meant to indicate an action and not a someone and is totally related to what I do.


It could be said that when you start looking for your identity, things work better when you don’t pretend to want to carry out an a priori search for what you want?


Yes, absolutely. I hate the fact that I already have to know what I’m going to do. I don’t always know what I’m doing. For me, you get a precise idea of what you want when you have experienced the sign and the issues I face. At a certain point, things are layered and then arrive at your own form of knowledge. In my opinion, this is knowledge, it’s based on experience. It’s not an a priori, from above, abstract thing.







By FRANCESCO SARCINELLA

3 June 2024

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