Via Valpetrosa, 1
20123 Milan, Italy
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ARTISTS:
Giulia Dall’Olio
Emilio Scanavino (Collezione Ramo)
© Giuseppe Miotto / Marco Cappelletti Studio
© Giuseppe Miotto / Marco Cappelletti Studio
© Giuseppe Miotto / Marco Cappelletti Studio
© Giuseppe Miotto / Marco Cappelletti Studio
Emilio Scanavino – Senza titolo, 1969, Matita grassa e acetato su cartoncino, 51.9 x 35 cm. Courtesy Collezione Ramo, Milano
Giulia Dall’Olio – g 19][432 d, 2024, Carboncino su carta, 65×50 cm
Giulia Dall’Olio answers questions from
Irina Zucca Alessandrelli, curator of the Collezione Ramo
Give a definition of what drawing is for you.
This is a good question, it should be answered at the end of a lifetime spent drawing, since practicing it daily leads to a continuous mutation of vision and sign. At the moment it is a journey into shades of black, beauty, simplicity, speed, reflection and instinctiveness, breaking down and recomposing the sign and the accompanying thought. When we talk about drawing, for me, we are talking about graphite or charcoal on paper, we are talking about something that is always evolving and that, unlike painting, is modifiable at any time. This discipline still has so much to say and can always be deepened. In my eyes, a drawing is never finished.
What techniques and creative processes do you use when working on paper?
My creative process comes from observing natural elements and the landscape as I walk, run or dive. I photograph with my eyes and mind what is around me focusing on the whole, the emotions and the inevitable human interference. Upon returning to the studio, through the use of charcoal and eraser, I bring back to paper the traces of what I have memorized, marks that lead back to parts of nature. I search for a balance between my acting as a metaphor for human beings and the beauty of what is not artificial, a balance between a line and a leaf.
Why did you choose this work from the Collezione Ramo?
The drawing is beautiful and I have always loved the work of Emilio Scanavino very much, I find it of a strength and coherence that I find in few. I recognize myself in the alternation of black and white, full and empty, his repeating to exhaustion and obsessively a sign that becomes the grammar of his making, becomes part of him and he becomes part of that sign.
What value does the dialogue with modern drawing have for you?
Huge, because you realize that drawing is ageless. The temporal distances felt in painting cancel out. There are modern drawings that turn out to be amazingly contemporary.
GIULIA DALL’OLIO (1983, Bologna) – Lives and works in Bologna.
She is dedicated to an intimate and meticulous drawing centered on the theme of nature and human intervention in it. As detailed as her natural portraits are, the cue is never a photograph, but an emotional memory of personal experience. Those who look at his drawings are led to lose themselves in the mark between light and shadow. Dall’Olio intervenes on a dark charcoal base, operating clinical erasures with the most diverse types of erasers, more or less soft, which the artist carves, depending on the type of nature he wants to return. His work ideally renders fragments of nature that man, in his constant intervention in the environment, has literally erased.