INTERCONTINETAL
THE NEW TROPE OF COLOR TRADE
By Hristiyana Ivanova
20 JANUARY 2020
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FEDERICA TROIA'S
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PLUM ADDICT
Different. Opposite poles. Let’s pretend I am a random art movement, let’s say I am Impressionism, the others are Neo-Classicism, Romanticism, Dadaism, and so on. We are completely different from one another, and somehow it works, and this is where it gets fun: I like watching them experimenting, breathing out their passion, which cannot be more distant from mine, and although this has caused problems in the past, I still believe that the fusion of different styles can create something spectacular, something not even God had thought when he created humans. So yeah, different.
During your studies, you have studied some of the artists that you work with now. How do you imagine yourself in five years?
Retired (laughs). To be honest with you, I don’t know. I would like to continue researching new ways to tell my stories through the brush, I also admit I would like to be immortal so I can keep looking for that something that’s always missing in my paintings, and this constant competition with myself is the one thing that keeps pushing me every day and creates something new. And yeah, hopefully, I’ll open the art school of my dreams somewhere too.
One of the concepts that stood out in your last work was the repetition of mythological signs. What part of that do you implement in your beliefs?
Belief is a funny word, isn’t it? I like to think that ghosts, aliens, God, Buddha, whatever people believe in, they’re all real, they come from something, they were born in someone’s mind, and recently I’ve had some dreams about those mythological signs, so one day I woke up and tossed it all on canvas. A greek philosopher once said "whatever is, is and what is not, cannot be", therefore I dreamed it, I saw it, It is, I believe in it, so it is my belief.
Or how to manage having a full-time art studio and still brush off the world with your art.
People have had many discussions around the years about anything but they definitely have not talked enough about Troia’s gallery exposition. Colours interfering with each other, precise brush sets and many emotional wavelengths could be found in her new collection Plum Addict.
Some people say that colours contribute to the understanding and perception of the emotions of the artist. How would you connect this with your works?
I always say that colours are the artist’s voice, and I try to show that in my works. I usually refer to Picasso’s phases, the blue and pink periods, and also the grey which was always present in his darkest times, as the best examples. It was clear what was happening in the artist’s mind while he painted, and if the message didn’t get to the viewers, he didn’t do his job correctly. So I think colours are the medium through which viewers finally enter my mind, at least that’s what I’m trying to achieve with my works.
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As we know, many of the artists that contributed to this project already worked with you before. How would you describe them?
How do you connect your works with nationalism and conception of society beliefs?
I feel like this question has had different answers every time. I am lucky enough to be considered an influential figure, so yes, I am aware that the majority of my works are seen as political and yes, that is my intention. I try to put as much of myself, my views, in my works as possible, so that my viewers can understand that I am everything but conventional, I much rather have them calling me critical, in every aspect.
Chocolate is the key to happiness. What is yours?
A blank canvas, a brush in one hand and a piece of chocolate in the other.
