"I don’t wait for inspiration but treat my art like the job that it is."

What sparked your interest in drawing?

NV: “I don’t come from a family of artists or creative people, but even as a child, I was always drawing. I was particularly fascinated by comics. I would copy Disney comics and Mickey Mouse when I was very young. As a teenager, I became more interested in Japanese manga, which further fueled my passion for drawing.

Here in Italy, you can enroll in an art-focused high school, and there, I was first introduced to the art world. I eventually continued my education at the Academy of Fine Arts, studying design and photography.

My style during art school was heavily influenced by illustration and comics, but at the same time, I was also exploring materials and techniques to see what worked best for me. I was particularly interested in analog photography, and in my research, I zoomed in on the future of analog images in a digital era. This sparked my interest in photography and how it is both a physical object and a fleeting digital memory.”

The vintage photos became your first canvas, right?

NV: “Yes, I began working directly on vintage photographs back in 2013. I started out by collecting old photos from markets and eBay and then painting and drawing directly on top of them. My aim was, on the one hand, to preserve the memory of the unknown individuals in these photos while giving them a new life. The work caught the attention of gallery owners and curators, which boosted my career as a professional artist.”

We also interviewed Erik Kessels, who creates artwork with found photographs. I wonder if you ever feel uncomfortable manipulating vintage photographs?

NV: “I don’t feel discomfort because I don’t know the people in the photos, which creates emotional distance. For me, the challenge lies in working with the original, historical objects rather than copies. The manipulation serves as a bridge between past and present, creating a dialogue through art.”

"Activism is an essential part of my work, particularly in critiquing the objectification of women in fashion magazines."

Why did you transition from working on vintage photographs to magazines?

NV: “In 2017, I participated in the 100 Days Project on Instagram, where I shared one magazine page transformation each day. However, my interest in working on magazines began earlier, when I was a design student in 2002, turning models in magazines into monsters to critique their objectification. By 2017, I had a clearer artistic style, and the project evolved into a visual diary addressing themes like anti-capitalism and feminism. This work resonated with people, and I began conducting workshops to involve entire communities in the creative process.”

Can you elaborate on the activist element in your work?

NV: “I’ve spent a large amount of time in Milan, the fashion capital of the world, and you see firsthand that it’s not all glitz and glamour. There is a darker side to it all. One that I address in my work.

Activism is an essential part of my work, particularly in critiquing the objectification of women in fashion magazines. I believe in transforming frustration into creativity, and I use art as a tool for discussion. By manipulating these magazine images, I can address topics like feminism, anti-capitalism, and climate change in a visually engaging way using the very source of that frustration: the fashion magazines themselves. I encourage others to use art to express their views and turn their frustrations into meaningful creations. It’s very therapeutic and beats staying frustrated about something.”

“My training and experience have helped me work efficiently and avoid creative blocks.”

What does your creative process look like?

NV: “For smaller works like vintage photos, I start by selecting a group of pictures and working on them as a series to maintain aesthetic and stylistic consistency. For magazines, I can complete one page in about an hour. I don’t wait for inspiration but treat my art like the job that it is, planning and creating within specific timeframes to maintain productivity. I didn’t always work as a full-time artist, so I had to plan my creative endeavors around my work schedule. I got used to planning my work, and that has certainly paid off. My training and experience have helped me work efficiently and avoid creative blocks.”

What is the most challenging part of the artistic process for you?

NV: “Sometimes, I dislike my own work, but I’ve learned to share it regardless to gauge public reaction. Interestingly, people often love the pieces I dislike, which helps me see my work in a new light. Commissioned projects can also be challenging because of specific client guidelines, but in the end, seeing satisfied clients makes the effort worthwhile.”

What are your favorite tools or materials to work with?

NV: “I love using acrylics, gel pens, stickers, and washi tape (a type of rice paper tape). These materials remind me of my childhood and are quick and easy to work with, which suits my process.”

You’re a trained photographer and designer, but your work merges different genres. How would you describe your work?

NV: “My style is a combination of photography, illustration, and collage. My preferred color palette is neons and pastels. I often start with photography and transform it into something new through my manipulations. It’s difficult to categorize my work strictly, as it blends elements from different mediums.”

Does working with other photographers’ images inspire you to create more of your own?

NV: “I’ve experimented with self-portraits and manipulating my own photographs, but it initially caused me anxiety. In the future, I’d like to work on portraits of friends and family, as knowing the subjects personally could offer new creative possibilities. I’m not rushing the process, though, as I believe each project comes at the right time.”

“I believe in transforming frustration into creativity, and I use art as a tool for discussion.”

You are very active on social media. Do you have advice for artists trying to gain visibility online?

NV: “Research is key. Follow artists whose work you admire and study where they exhibit or are featured. Consistently produce and share your work, but don’t obsess over views or comparisons. Focus on building a solid portfolio and creating an online presence, such as a blog or website, to showcase your work. Visibility takes time, so stay consistent and be patient.

You also have to take initiative. I work with quite a few brands, and in the beginning, I reached out to brands, showing them how I used their products in my work. This led to collaborations, such as workshops with a Japanese washi tape brand. Over time, as my visibility grew, brands began contacting me directly. It’s a good idea for artists to start with small collaborations, such as with art supply stores or local brands, to build relationships and gain experience.”

You spent a good amount of time traveling all over Europe to do workshops. Does all that travel and teaching ever take time away from your art?

NV: “I’ve found a balance between workshops and my own art. Workshops allow me to connect with communities and share my process, which is an important part of being an artist. I also work on commissions, ensuring I’m always creating art in some capacity.”

"The creative journey never ends, and I’m excited to see where it takes me."

What’s next for you?

NV: “I’ll continue exploring new techniques and possibly work more on portraits of people I know. I’m also interested in opportunities to collaborate, such as residencies and workshops in different locations. The creative journey never ends, and I’m excited to see where it takes me.”