The summer of divine pastels. Francesca Dimina tells her story

I am twenty-six years old and grew up in Turin. I was exposed to art and artistic creation from a very early age, thanks to my mother’s profession as a consultant at Christie’s. Wherever I went with her, I would visit exhibitions, museums and galleries. Picking up brushes and crayons, in short, came naturally: I have been drawing and painting for as long as I can remember. It was only during my university years – I have a degree in economics and hospitality – that my studies dampened my creative drive somewhat, but as soon as I finished my degree, I felt the urge to create once again, even more strongly than before. For my birthday a year ago, I asked for some acrylic paints as a present; however, by reading books, studying different techniques and practising a great deal – having never attended art school, I have to work very hard at it – I discovered oil pastels, which fascinated me. I believe I have a keen sensitivity to colour, and the pigments in oil pastels – so saturated and intense, with that textural richness which, when applied to the canvas, adds depth to the painting whilst remaining as delicate as skin – have completely captivated me. They’re also easy to carry, so I can always keep them with me in my bag and sketch wherever inspiration strikes, a bit like a photographer with their camera. In my paintings I see traces of Expressionism, certainly some Fauvist colours, and sometimes Pop Art – for example, when I realise I’ve started recreating a packet of crisps or a biscuit tin. However, I try not to imitate or follow specific movements; in fact, I think I’ve followed the opposite process: through a lot of practice, I’ve found my own recognisable style that I like, and I’ve started to compare it with what I see in books and museums. I create works using colours that don’t necessarily represent real ones; on the contrary, they’re almost always altered, because I try to add an emotional filter to my perception. So far, my works have been exhibited at The Others Art Fair, where I enjoyed success – including in terms of sales – which flattered me greatly, and I’ve taken part in two exhibitions: one in Turin, at HR L@B, and another at Siteroom in Milan, where I sold a diptych: I speak with pride of my commercial achievements and my financial management, because I believe that being an artist, today just as in the past, is equivalent to running a business on one’s own. One must create art, of course, but also forge meaningful relationships, make oneself known through all available channels and effectively build one’s reputation: at least half of my work is devoted to promoting my ‘brand’.