Chance does things right, but the artist Virginie Sanna perfect the laws of serendipity by his subtle gesture. This Toulon native, born in Ajaccio in 1990 has created a refined universe where only colour, shape and the application of a very precise protocol matter. Passionate about photography, she finally followed the path of pictorial creation at the École Supérieure d’Art et de Design de Toulon (ESADTPM) from which she graduated in 2016. Later, the public discovers his geometric canvases colored from the three primary colors and whose distribution is entrusted to an artificial intelligence, a random number generator. His practice of drawing comes later, in 2017 during his first solo exhibition at Toulon at the Galerie de l’École. A practice she revealed to the public during her participation in the last edition of Art-O-Rama à Marseille and that she will show to the 7th edition of VRRRRRRthe Toulon contemporary drawing festival held from November 23-25, 2018.
Marlene Pegliasco: Drawing is a practice that reveals itself as a filigree of your other artistic practices.
Virginie Sanna: Indeed. I was already drawing at the time of the exhibition “NCJM” to the The School Gallery in 2017. The drawings presented were the graphic translation of nine canvases, variation on a monochrome of four shades of black where the mixtures with cyan, yellow and magenta were submitted with very precise rules. I drew the letter of the mixture in a square. So here is my first experience.
M.P. : Any other projects during your studies?
V.S. : I’ve always drawn because I’m a comic book fan. I was doing it for pleasure, but there was nothing serious about it. Then in preparation, I was confronted with the practice of drawing, observational drawing, charcoal drawing, the different techniques… During my years of study at Fine Arts, i only made sketches to prepare my projects, but drawing was not a medium in its own right like painting or photography. On this subject, I did a two-year post-baccalaureate training and worked as an assistant in a photography magazine in Ajaccio before joining a preparatory course and the ESADTPM.
M.P. From now on, the drawing follows your projects
V.S. : From the square of my canvases, I experienced the cube I broke. I work on plaster cubes that I fragment with a hammer and chisel. Then I take pictures of these random fractures that I use as supports to make drawings. Finally, I draw the outline of each fragmented cube and I come with a thin felt pen, follow the inclination on each side. It’s very concrete: a leaf, a shape, that I saturate with lines at the ruler, at the end of the end. Black is the drawing where the felt is passed twice, where the lines are on each side to highlight the fracture. I made another series of drawings with a slightly freer protocol.
M.P. : Will the drawing be subject to a protocol like your previous creations?
V.S. : I tend to print in the drawing the same essence of the conceptual and analytical approach of my painting. This regularity and protocol are signatures of my work. In the series of fragments, I saturate the space with these features in a given form. There is no subjective intervention by the artist in this rigorous process, no affect because it is the gesture that matters to me. In the series of angles that I will expose to the Gallery G at La Garde in march 2019I drew lines mechanically at an angle defined at the beginning, from 0 to 90 degrees until the space was saturated. For the contemporary drawing festival VRRRRRRI will present new fractures and corner drawings, possibly with new dimensions or new experiences. There is a geometric obsession every time. The work, in its abstract and ordered aspect, has a significant framework and an explicit meaning in the most neutral representation I can give of things. We will see how things will evolve, but today, my drawing follows only one rule, that of clarity. A shape, a material, a drawing.
Portrait of a draftswoman:
If I were a drawing: a Wall Drawinging by American artist Sol LeWitt
Preferred technique: watercolour, fine pencil and rotring.
The most unusual support: the floor
“Drawing is like…”: painting without a brush