Room 2: Cristina Amodeo, Illustrator

Cristina Amodeo tells how her productivity has increased exponentially in recent months allowing her to work on new and exciting projects.

What has the house represented for you in these months?

I have always had an excellent relationship with my home, I have furnished it over time with many elements that represent me and that make me feel in harmony with the spaces. In the past months, however, there have been alternating moments in which I experienced the house as a shell to many others in which I perceived the walls with epidermal discomfort. Fortunately I live with two dogs that allow me to take air several times a day, regenerating the head and regaining concentration.

Where does the study/kitchen window look?

Both the study and the kitchen overlook a small quiet street with very discreet opposite inhabitants.
In the kitchen there is also a small balcony that during the morning gets direct sun, ideal for the numerous plants that adorn it, including a fragrant jasmine, recently bloomed, and many succulents that give me great satisfaction.

Tell us about the illustration process: where does the inspiration come from?

Working from home and limiting the stimuli of the outside world I found myself, a little intentionally, a little unconsciously, to take inspiration from the elements that surround me and on which I lay my eyes every day. Thus appeared on my tables a ceramic vase bought years ago in Faenza, the shopping bag lent to me by a friend or even the South African fruit bowl that they gave me for Christmas.
I concentrate a large part of my work on the composition and visual balance of the weights that make up my images, helping me with the choice of color. Initially I create very confused pencil sketches which in a second step become extremely precise and which will be the faithful track on which I build my collages.

Did the lockdown influence your creative process? If so, how?

No, I would say that the lockdown did not influence my creative process, what he certainly did was to accelerate my productivity which in the last period has been rather lazy. The obligation to stay at home has awakened the desire to keep me constantly at work on different projects, many of which started without a concrete purpose, but useful for my research on shapes and colors.
It was a diametrically opposite reaction to forced static: putting the energies that I inevitably saved by suspending activities outside the home in the drawing.

And finally, how come twenty apples? And how did the Martini come about?

I don't have a very good relationship with winter fruit, except for kiwis and apples. So, already fed up with kiwis, in the first phase of the lockdown I found myself buying lots of apples, only to ask myself how I would have been able to consume them before I made them age.
I've lost count of how many cakes and cupcakes, crumble, even vegan muffins I've made (and shared with close friends) in the past few months, but the equation was: apples are in my kitchen like shrimp in Buba's in Forrest Gump.
Martini, on the other hand, is the only alcohol I felt like during the lockdown, but the illustration created mixes reality and desire because if it is true that I drank it, there is no appropriate glass at home to taste Martini with olives ; it will be necessary to provide.