10 Questions with Roberto Sabatini

Born in Italy, Roberto Sabatini was raised in a family of photographers. While he was influenced by their choices, it wasn't until recently that Roberto adopted photography as a visual art.
Roberto began his career as an illustrator, employing traditional art techniques. Hyperrealistic artworks were popular at the time, allowing him to develop his attention to detail and perfect the art of intricate illustration.
He then progressed to realistic decorations and paintings, a relatively simple step towards making his work larger and bolder, before eventually transitioning to digital and exploring modern technology.
Currently, Roberto resides in London, a city that has become his latest canvas for creative works.

ARTIST STATEMENT

Roberto enjoys working with a variety of visual arts, but in the last period, he has been focusing on photography. He finds it appealing and challenging to shape and capture light and shadow.

He constructs images rather than taking snapshots since photographs prepared with minimal details remind him of painting, where the creation of the artwork can take time and give the artist an awareness of what he is creating. For this reason, he found that the best way to express himself in photography is by using still-life subjects.

He is not only interested in showing beauty but also in evoking concepts and emotions. His works range from representational to abstract within this realm.

In his recent works, he is focusing on reinterpreting famous artworks and exploring motion blur.
In the Playtime series, Roberto is capturing the essence of movement, giving the impression of a living doll.
In the Walls of Fame series, he is inspired by masterpieces to reframe his vision, as exemplified in the Marlene picture, where the iconic actress's cigarette pose is emulated by a male doll to represent diversity and break free from social norms of traditional gender roles.

INTERVIEW

When and how did you start getting involved with visual arts? 

I gained an interest in the visual arts after finishing high school. At that time, I was attracted by the impeccable and fluid images produced with the airbrush technique. I got my first airbrush and began experimenting with it. Then, I got an opportunity to collaborate with my brother's friend, who owned an advertising agency. The first airbrush illustration I created for him was a series of man silhouettes in different gradient vibrant colors. The concept was simple, but this was before the digital era, so all the illustrations were made traditionally without the luxury of an "undo" button! 
Later, I decided to further refine my skills and enrolled in an Illustrations degree program at Istituto Europeo di Design in Rome.

What, for you, is the most enjoyable part of producing your art? 

I like the creative process, whether I start with a clear idea or work through a fuzzy concept. However, I particularly enjoy the physical labor and research that allows my ideas to grow and bring my vision to life. 
Recently, I embarked on a project to capture the movement of a doll in a series of pictures as a remake of a previous image I had taken. However, my initial attempt didn't quite capture the image I had in mind. Undeterred, I decided to take a different approach. I built a motion controller to precisely control the doll's movement and the speed of the shots. Even though it took over a month to construct the needed equipment, I was really happy with the outcome and thoroughly loved the entire process. 

Let's talk about your work. What is your preferred medium? 

Coming from a family of photographers, photography has been a constant presence in my life, particularly during my childhood. However, despite these early influences, I have only recently embraced photography as a form of visual art, as my background lies primarily in traditional painting. 
I love photography because it allows me to shape reality and tell stories through my images. I find it remarkable how the same scene can convey different meanings or emotions just by altering lighting strategies.
I believe photography is a great way to expand my creative potential and challenge myself to try new things. 

Can you explain what your main idea is and how you are working on it? 

It can vary depending on the project's characteristics. In my last project, I have been creating images similar to how a director stages a scene. The process of creating such images requires meticulous planning, which frequently includes the construction of elaborate sets and the search for unique elements to ensure that my final images correspond to my concepts. I strive to keep post-production work to a minimum, and 3D printing technology has been critical to the success of my approach. 
For instance, in my Marlene picture, I aimed to replicate the pose from the original photo of Marlene Dietrich in Shanghai Express by Don English. To achieve this, I digitally created the body of the doll, which I then 3D printed and assembled with the doll head I already had. This process allowed me to meticulously craft every aspect of the image, from concept to execution, and achieve the desired result. 

Where do you find inspiration for your work, and what is your creative process like?

As with many artists, inspiration for me can come from a variety of sources, such as watching a movie, attending an exhibition, chatting with friends, or browsing the web. However, what truly fuels my creativity is connecting different elements together. One instance of this was when I went to the Tate Britain in London and was enchanted by the painting Ophelia by Sir John Everett Millais. Connecting the painting with my daughter's doll inspired me to create my own version of Ophelia in a photograph. 

Why do you use this visual language? And how has it evolved over the years? 

I began my career creating hyperrealistic illustrations, obsessing over reproducing every detail. However, over time, I have become more open to simplicity and have started to appreciate the freedom it brings. I can now concentrate on the concept without becoming too focused on the execution. 

What do you hope that the public takes away from your work? 

We are constantly exposed to visual stimuli in today's world, which leaves us with little time to process everything we see. If the audience took the time to appreciate my art and recognize the passion behind it, it would give me great pleasure. It would also be incredibly fulfilling if my work were to inspire other artists. 

Is there anything else you would like to experiment with? 

I am intrigued by the potential of new technologies and how artists can evolve alongside them. I am particularly interested in experimenting with artificial intelligence (AI) to develop ideas and concepts collaboratively. Although I am unsure if the technology has progressed to that stage, I believe it could be a game-changer for any artist looking to push the boundaries of their creativity. 

What are you working on now, and what are your plans for the future in terms of new projects?

I am currently in the process of reimagining famous works of art under a project I call "Walls of Fame." I've already created a few pieces and am eager to work on more throughout the year. This project is of particular interest to me as it allows me to appreciate the beauty and concepts of these masterpieces while also providing a challenge that demands both my creativity and technical skills. 
For the last image I created for this project, "The Song of Love," I utilized a technical camera to take a photograph, despite not having previous experience with it. Although it took some time to familiarise myself with the equipment, the end result was definitely worth the effort. 

Finally, do you have any upcoming shows or collaborations you are looking forward to?

Currently, I don't have any upcoming exhibitions, but when I complete the "Walls of Fame" collection, I will likely seek out a suitable venue to showcase my work. I strongly believe that artwork needs to be hung on a wall to be fully appreciated.