What Roman Frescoes Taught Me about Color and Light
In this episode, I take you with me to Rome, to The National Roman Museum.
My work is often rooted in observing the history of images: the way artists have constructed forms, colors, and visual narratives throughout time.
In Rome, ancient frescoes have been a particularly strong source of inspiration for me.
What I am seeking here is not only to look at ancient artworks, but to understand how they were conceived:
how color structures space, how light is suggested through pigment.
These questions directly resonate with my printmaking practice, where every choice of contrast, composition, and visual rhythm is essential.
In this journey, I begin with the painted garden of the Villa of Livia, an immersive fresco that completely transforms the perception of space.
We are no longer facing a decorative image, but an environment constructed through color.
The interplay of pigments, the transitions of tones, and the way light is simulated all relate to very contemporary questions of image-making.
As an artist, these discoveries directly feed my research: they influence the way I think about printmaking, the structure of my images, and my relationship with color.
In this episode, I take you with me to Rome, to The National Roman Museum.
My work is often rooted in observing the history of images: the way artists have constructed forms, colors, and visual narratives throughout time.
In Rome, ancient frescoes have been a particularly strong source of inspiration for me.
What I am seeking here is not only to look at ancient artworks, but to understand how they were conceived:
how color structures space, how light is suggested through pigment.
These questions directly resonate with my printmaking practice, where every choice of contrast, composition, and visual rhythm is essential.
In this journey, I begin with the painted garden of the Villa of Livia, an immersive fresco that completely transforms the perception of space.
We are no longer facing a decorative image, but an environment constructed through color.
The interplay of pigments, the transitions of tones, and the way light is simulated all relate to very contemporary questions of image-making.
As an artist, these discoveries directly feed my research: they influence the way I think about printmaking, the structure of my images, and my relationship with color.
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