Interview | Carina Francioso

Hello Carina, in one of my favourite film directors, Federico Fellini, most famous movies included or ended with scenes of the sea, a place for saving and revealing for its protagonists. What haunts you in the representation of the sea?

The sea and all bodies of water have also been a place of saving and revealing for me. Ever since I can remember I would sit by the water to contemplate, meditate and heal. In many ways those moments saved me from unwanted thoughts, allowed me to shed tears or revealed to me my deepest desires in life. I realized years later that water was also my pathway to adventure, travel and mystery. I think many people can relate to water in this way; after all, water connects us all and even brings us into this world. The sea is so vast, it represents the unknown and for many it can invite a haunting feeling. For me, painting the sea has partly been my way of getting comfortable with the unknown, allowing me to fully embrace and trust in the uncertainties of life. Also, it is scary to think that the sea can be so gentle, calm, healing and life giving one moment and then in the next instant its power can destroy all that is in its path. Water in general is the perfect symbol of life. I can only slightly begin to express to you here how much the waters of the world have taught me about life. I think what haunts me most in the representation of the sea or water is the fact that for many people there is a scarcity or lack of access to clean drinking water. Water sustains all life form on earth, and we have been entrusted as guardians of this natural resource, and I continually ask myself, “Are we doing our best for the protection and conservation of this natural resource?”

Carina with painting “Il soffio della vita” (The Breath of Life) | Photography by Stan Switalski

Immutable yet constantly changing. Do you think that the depiction of the sea can fit into the pictorial trend of “still life”?

The sea could never fit into the pictorial trend of “still life”. Still life paintings traditionally involve inanimate subject matter and the painter or photographer is creating the image, rather than capturing a moment. The sea is living, ever-changing, pulsing in and out and always in motion. The sea will always speak for itself and it cannot be controlled; neither can the lighting or mood be altered. This is what I love about painting the sea! I, the artist can only merely capture a fragment of its breath and beauty and I continue to be humbled by its presence. The sea is in control, not me.

“Corri al mare” (Run to the Sea) Oil on wood, 24” x 48″

Looking at your most recent works, I have the impression that a couple is formed on the canvas, two alter egos of the author: the real sea, fluid and material, and a “sea of life” that reflects and welcomes us. Do you find the same?

When painting an ocean or water scene I do not consider the subject matter to be alter egos on the canvas or panel, however I do consider my work to be a reflection of my inner world and emotions. I think we all have a deep sea within each of us, that is sometimes tumultuous or at times calm and within that internal sea there is much to discover and bring forth as we move through life. I grew up around water, boating with family on Georgian Bay in Ontario and spending many summers by the sea in southern Italy. Water makes me feel alive and it is this love of water that inspires me to paint. I travel around the world to exotic places by the ocean and I always find myself mesmerized by the water. It is as if the water speaks to me, offering me a sense of peace and a powerful confidence. The fluid, material aspect of water and a “sea of life” is one in the same for me, that reflects and welcomes us, rather than alter egos who may totally differ in personalities.

“Liquid Gold”, oil on wood panel, 18” x 36”

There are many surprising aspects in your art, but your sublime technique is immediately evident for sure. Could you reveal something about how you’re able to achieve your outcome?

If I have a gift, it’s not that I paint particularly better than other artists or that I have one special technique to achieve the outcome — I don’t want to fool myself into believing that. Rather it is that I have taught myself to be patient with my work and patience and delayed gratification are very important variables of success in anything. Some of my larger paintings take months to complete, one in particular took me one year to finish. I believe every detail is as important as the whole so I take my time with my work, without rushing to the finish line. It is like when every facet and detail of your life are being built upon a strong (not sloppy) foundation. I want to believe that this gift of patience has translated into the rest of my life… but I’m not sure I’m there yet. I’m still just a masterpiece in the making.

The thing that struck me the most is the ease of execution, everything seems linear, perfectly balanced and clean executed, as if you had worked so hard on your technique that now you can afford the luxury of forgetting it. Which do you think are the distinctive features of your technique?

I know what you’re saying about ‘forgetting it’. At times, I do feel like the art is doing me as opposed to the other way around. My work has become a meditation in the sense that I don’t think about the execution as much, I just let it happen. Where as at the beginning of my artistic career I would think about the execution a lot, and get caught up in the technicalities of it all. Perhaps this is like muscle memory in anything you’ve had a lot of practice with – like accidentally finding your way home when your mind was elsewhere for the whole drive. Sometimes I find myself mixing the exact colours I needed, and this happens without trying or thinking. This is sometimes referred to as a “flow state” and I find myself here often when painting. Again, I don’t think I have a specific distinctive technique but I think what sets me apart from some other artists is my ability to be patient with the work and watch it slowly unfold. Nothing excites me more than to see something come to life on canvas.

In the studio with ‘Ashbridges Bay’ (oil on panel, 24″ x 30″)

The solar refraction on the waves is what makes your compositions extremely real. Do you use this expedient only in search of the hyper- realistic effect or are you interested in telling the two elements of light and the sea?

I am most definitely interested in expressing and documenting the two elements of light and the sea together. I am constantly intrigued and mesmerized by the reflections of light on water. When I was a child (and still today) I would often find myself staring fixedly at those diamonds of light on the water’s surface – becoming lost in that moment. That vision remains one of my favourites and that is why it frequently shows up in my paintings.

 “Sotto lo stesso sole” (Under The Same Sun), oil on wood panel, 50” x 45″

“Under the same sun” is one of my favorites and I’m curious about the choice of the title in Italian. Could you tell us a little more about the choice of title and the genesis of this painting?

I captured the source imagery that would eventually inspire this painting off the side of a cruise ship on the Mediterranean Sea. I was spending my summer in Italy (as I often do with family) and I always have my camera whenever I am travelling near or on water. The name was actually inspired by a song by Ben Howard titled “Under The Same Sun”. I listened to this song several times during the making of this painting, but the name stuck with me because it made me think about how all of us on earth are connected by water and how we all share the same sun. With the sun glistening over the waves in this painting, the title felt like it was meant to be. I gave this painting the title in Italian, “Sotto lo stesso sole” because it is in relation to my travels to Italy that summer. You’ll notice that many of my paintings have Italian titles and this is either because my source imagery was captured along the coast of Italy or simply becasue Italian is my second language and it is a strong part of my roots.

 “Aloha”, oil on aluminum composite panel, 18” x 26″

Coming to more recent paintings, “Aloha” is certainly an impressive piece for its naturalness and overall communicability. It seems to me that you are able to express an idea of timeless memories through fixed shots of landscapes without a place. How do you choose your shots? What remains of “impressionism” in your so accurate and technically complex work?

I love how you mentioned “timeless memories” because I often think about how the waters of the world are timeless; they have no beginning or end, they are forever beautiful, ageless and always relevant. My creative process begins by using personal photographic images taken during my travels; images that captivate me, depicting the reflected light of a sunrise cascading across the water or the splashes on the crest of a wave. Each painting is usually a clip of a larger image, a snapshot in time. Rather than focus on the negative connotations of water such as pollution or depletion, my paintings emphasize a positive viewpoint, the natural ever changing beauty of water, its mystery, and profound life. In terms of my style there is no impressionistic quality to my paintings – they are purely hyperrealistic!

 Carina at Arcadia Contemporary Gallery with “Il soffio della vita” (The Breath of Life) Oil on canvas, diptych 68″ x 102″, 2019

Your impressive portfolio reveals an “hard working” attitude, maybe routine and being strict with yourself is very important everyday. How’s a full day in your life? Tell me some about your daily routine.

Having a daily routine is something that is very important and crucial for my overall well-being and success. I always start my day with moving my body, whether that be training at the gym, going for a run or doing yoga. Then, after breakfast, I begin my artistic work in my home studio. I have always found I do my best, most productive work while working from home. I generally spend 6-8 hours a day painting with small breaks in between; if I am preparing for an exhibit then I’ll continue working into the late hours of the night. Like anything, if you want to be successful you have to put in the time. I try not to be too strict with myself, I allow myself time for family, dinner with friends, nights out dancing etc. However, my life’s work (creativity) is a great priority in my life and I’m glad that comes across in my portfolio.

 Location: Arcadia Contemporary Gallery, VISIONS Award Exhibit 2019

It could sounds strange but I can not help but catching references to Japanese painting tradition in your work. Do you think it influenced you in some way, or do you have other references?

Although I enjoy looking at all sorts of art I try not to let it influence my own work. I am not extremely familiar with Japanese painting tradition – of course I am aware of the beautiful detail found in these works and I know of the great iconic painting, “Great Wave off Kanagawa” by Katsushika HokusaiI, however, works like this have not directly influenced my paintings. I have always been very interested in realism renaissance art and this era in painting is what initially sparked my love for realism. I am obsessed with rendering paint in a detailed, realistic fashion. A few of my favorite influential artists (not just from the renaissance era) include Michelangelo, Caravaggio, Botticelli, Leonardo Da Vinci, Gustav Klimt and John William Waterhouse.

Which of your painting has been most important to developing your personal style? I mean, can you highlight a turning point in your artistic production?

Ever since I started painting in oils I was drawn to painting realism. Even when I was painting other subject matter I would still approach the painting in a realistic way. My painting titled “Il soffio della vita” (The Breath of Life) took me one year to complete, and although it didn’t influence my painting style it really did influence my work ethics and dedication. This painting is 68” x 102” and this large size required patience and perseverance.

Carina with “The Adriatic Glistens”, oil on wood panel, 16” x 20″

Tell me some about what excites you in the world of art today, give me three names in contemporary art that blow your mind.

I love the fact that today there are many opportunities for artists to represent themselves and to sell their work online as opposed to solely exhibiting their work in galleries. There is no excuse for an artist not to thrive in today’s world. Most of the art work that blows my mind was created by non-living artists, however I admire the contemporary works of Ran Ortner, Vija Celmins and my dear friend and artist Roberto Panico.

Let’s play with time for a minute: you’ve booked a dinner table for 4, and you can invite whomever you want from Ramses II to Billie Eilish. Tell me your DDT, Dinner Dream Team.

This is a difficult question to answer because there are so many people I would like to share a dinner table with. My dinner dream team would include Jesus, Leonardo Da Vinci, Anthony Robbins, and of course myself. I expect we would have much to talk about.

Here we go, Proust Questionnaire:

– Your favorite virtue? Love.

– Your main fault? I can be very hard on myself at times.

– Your idea of happiness? Being able to do what I love in life, having great health and being near to family.

– If not yourself, who would you be? I’m pretty excited to be myself…

– How you wish to die? Happy and fulfilled.

– What is your present state of mind? Calm and eager to create more.

Our time is running out, let’s leave ourselves with your vision for the future. Please tell me the projects (paintings/exhibitions…) you would like to achieve in the next few months, and something you would finally get rid of?

My next project consists of a series of oil paintings depicting the female figure in water. My personal experiences and connection to water, its beauty, strength, fragility, meditative and healing properties, is what inspires me to paint this new body of work depicting the female form connecting to water. Depicting the vulnerability of the feminine and the vulnerability of our world’s waters serves to highlight the issues they face today. The feminine, like water, is life giving, strong, healing, yet vulnerable, which is something I think about often and can relate to as a female. My intent is that the viewers will be able to relate to their own experiences and relationships with water on a deeper level, and this will drive their own inspiration to appreciate and cherish the world’s waters and women. I plan to have a solo exhibit with these works sometime in 2022/23. There is nothing in particular I want to get rid of, I want to continue building upon what I have already created in my life and in my work.