Making Art Personal
an Interview with Saul Zanolari: Master of The Mouse
By Kristie Langone
Saul Zanolari is a multi-faceted artist who is satisfied with the notion that certain sensibilities are indescribable and, ultimately, can’t be fleshed out with words. Saul has worked as a professional photographer/designer/artist since 1997 and has been exhibiting his work since 2005. His works always feature one subject and start with a photograph. Zanolari delves into the details of a single story with his imagination in an effort to spawn new work and grasp concepts. His art resonates in a lonely dark alley, symbolizing a haunting world that invokes questions about who we are as a people — and, more importantly, as individuals.
At the ripe age of 30, Zanolari has already had his work exhibited in New York, Paris, Basel and Milan. Born in September of ‘77 in Switzerland, Zanolari describes his childhood-self as a mixture of quiet and problematic: “I was a terrible kid,” he ruminates. “One of those kids that, today, needs Prozac.” But, as for his childhood as a whole, he remembers an enchanted one.
Zanolari’s studies in Philosophy led him into the lens of photography. The latter snowballed and rolled him into his unique and tenacious craft: reworking photographs to create an entirely new digital image. How does he do it? Not with a pen or a brush — but a mouse (Zanolari also uses his hands and creates sculptures from photographs). It’s difficult to believe his works begin with a picture because they look like mummified, 2D wax figures descending from a dream (or nightmare)!
A mixture of fashion clips, drawing and pop art, the portraits signed by Saul illuminate subjects like drag queens, dolls and DJs. From “Simon Le Bon” (lead singer and lyricist of Duran Duran) to “Miss Kitten (electronica DJ),” moving through “Amanda Lepore” (American transgender icon), his art engages onlookers; it sucks them into the condition of his subjects. What’s behind their eyes? You can’t help but notice.
Zanolari works on subjects that interest him but he tells us that the majority of his portraits star his family and friends. Zanolari stresses the importance of the everyday figures in our lives by immortalizing those who have influenced him personally. After all, what better way is there to create true art than to use subjects you truly know?
We talked with Saul while he was packing up and hitting the road to Beijing to begin a new series, “Chinese inspired,” which will show at F2 Gallery in early March.
INTERVIEW WITH SAUL ZANOLARI
It’s difficult to believe that your work starts as a photograph. How do you do it? What are your favorite software programs to create with?
JJust drawing. I begin with a real photo but the photo I use is only a pretext and a guide to draw with. As you could do with a pencil or a pen, I draw with my mouse.
You’re also a sculptor. How do you go about that, and manage all that detail!? What other mediums do you work with?
You’re referring to my new sculpting series from my doll’s series of photo artworks. My sculptures are growing from the photo directly. Their life began as a real doll (a toy), someone took a picture of them, and I created another brand new image. Now I’d like to give another chance to this image and this doll. I’d like to give another 3D life to my dolls.
How long do you typically work on a piece? Are you the start-to-finish type or the let-it-sit-for-a-few-years type? Or somewhere in between?
I need to work on one of my artworks about 3 weeks. I’m the start-to-finish type. I’m not able to wait on a half-made piece. I need to see it finished, accomplished and alive as soon as possible. That’s why I’m exhausted when I’m finishing one!
Many of your works feature friends and family? Many artists keep their art/writing away from their families. Do you enjoy having that seamless connection and/or your thought on this?
Yes. Friends and family because I live my art deep, close and intimate. I can express only what I really know, and it is easier when you know your subject. I mean, mine are not really portraits. I use subjects because I need to talk about concepts. If I know the subject, it is easier to play with a concept and choose the right subject for the right concept.
Are you currently working on any projects?
I’m living in Beijing starting in August 2007 because I’m working on my next solo show here in China. I’m working on a brand new series of portraits and sculptures “Chinese inspired.” The opening will be on March 8th by F2 Gallery.
That’s what I’m working on now.
What gave you ‘the fever’ for the arts?
You feel it. You can’t do anything else – and you can’t describe it.
