Donato Sansone – Milkyeyes: “the aesthetic becomes more and more burlesque and supernatural. “
Interview by Caroline Canault
Why are video and animation the best means of artistic expression for you?
Telling stories through video and animation is for me a simple and instinctive way that allows storytelling to become playful and fun with a dose of creativity. Also, the ease with which I manipulate the technique inevitably leads me to prefer it as a form of expression. It must also be said that the animation came a little accidentally for economic reasons in the sense that many of my projects that I would have liked to achieve “live” with special effects, were not accomplished as they are, for lack of funding. Animation is now the most practical expression to be able to develop my ideas.
You are a fervent defender of humor and trash, what is the best recipe to bring these two concepts together?
I don’t know how I manage to combine irony and trash, it is something that I have learned over the years or that comes to me spontaneously … In any case, it is the form of expression with which I can easily send messages and have fun creating. I have carried a kind of irreverence within me since my youth which is unleashed by doing what I do.
What will be your next project?
I am working on the making of a short film called “the cat.” It is a short film made in classic animation, drawn by hand, frame by frame. The story is about a boy who hears a knock on his door in the middle of the night. When he goes to open, there is no one. On the ground lies a dead cat torn at chest height with the head of a man. The boy decides to enter the cat through his wound to propel himself to another dimension.
Fragmentation, the deformation of the body is a central approach in your work, can you detail this intention?
Since my childhood, I have always liked what is surreal and distorted, anything that presents itself in some way as an encroachment of physical and conceptual reality. The deformation and explosion of the body happened naturally in my work. Over the years, this has allowed me to open up to a new perception of reality. Through the influence of authors such as Burroughs, Artaud, Perniola, Cronenberg, to name a few, I was also able to understand the conceptual potential and aesthetic appeal. Physically deconstructing the body allows it to alter its perception and how it feels, but it also means giving it a symbolic reflection.
In what way is Figurative Destructuralism, according to you, a real aesthetic witness of our time?
The destructuring of things is an aesthetic element nowadays, in fact it has already started with cubism and futurism more than a century ago. Deconstructing means in a way including time and space, the idea, the past, the future in the image … It is seeing things from several points of view simultaneously but above all it is feeling more than seeing . Today more than ever, I feel this conceptual appropriation of aesthetics which is becoming more and more burlesque and supernatural. All of this helps to produce some truly interesting and magical aesthetic shapes.