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With a foundation in Architecture from Milan Polytechnic and specialized training in editorial illustration, Francesca Gastone draws inspiration from her urban experiences in cities like São Paulo and Hong Kong. Her illustrations capture the essence of human interactions and emotions while highlighting the uniqueness of individuals within the crowd while her architectural training infuses her work with a keen sense of spatial awareness and composition.

Using digital collage as her primary medium, Francesca Gastone vividly portrays life stories revolving around a selection of new and iconic products from the Foscarini collection where each lamp sparks the creation of a ‘microcosm’. Her dreamy, surreal illustrations encourage us to immerse ourselves in their narratives, prompting reflection on which moments of the day resonate with us and which type of light brings us comfort. They serve as a connection to the lamps, outlining paths that bring us closer to them.

In this exclusive interview, Gastone offers insights into her creative process, tracing her journey from a childhood fascination with drawing to her evolution as an illustrator and architect. She delves into the inspiration behind her collaboration with Foscarini, sharing the influences that shape her artistic vision.

Hi, Francesca! Can you tell us something about yourself and your artistic journey? When did you start drawing and when did you realize you wanted to become an illustrator?

Drawing has always come naturally to me, and my love for art in all its forms led me to graduate from an art high school and later pursue a degree in architecture. I started working as an architect in Italy and then in São Paulo, Brazil, and Hong Kong. My first approach to illustration came about casually out of the necessity to solve interior design issues. While in São Paulo, a culturally rich city, I found fertile ground to delve into this world: I began buying more and more magazines and illustrated books, attending workshops and courses, but I had very little awareness of how illustration could become a true profession. The birth of my daughter Olivia coincided with my move to Hong Kong. This time, characterized by slow yet intense rhythms, discovery, curiosity, and a real immersion in picture books, was a turning point. One day I took a plane to Shanghai and spent three days showcasing my works (at that time, still very raw) at the Shanghai Children’s Book Fair. I didn’t gather much, but I understood it was a real, achievable path, and illustration became a necessity. However, I felt I lacked solid foundations, so in 2021 I decided to enroll in a master’s program in Milan. From that moment on, my perspective on this profession changed, and I realized that illustration encapsulated in the right amount everything I loved.

How do the two souls of Francesca Gastone, the architect and the illustrator, coexist and influence each other?

They constantly coexist and influence each other to the extent that it’s sometimes challenging to distinguish where one ends and the other begins. I recall at the age of 7, I only drew roofs and tiles, and my teacher jokingly told my mother that I would become an architect. Whether it was her unwavering trust in her judgment or a genuine inclination that motivated me, I took those words as a revelation, as if I had received a gift, and the path ahead had miraculously become clear. The image of the architect seemed magical and incredibly potent to me; no one in my family had ever ventured into this field. This anecdote still brings a smile to my face today, and I believe architecture remains one of my greatest passions; I owe it a lot. However, over the years, and after living on three continents with different approaches to the architect’s work, I realized that role often felt constricting to me. Illustration somehow resolved many things that were unresolved within me, but the truth is, I feel like an architect even when I’m illustrating. The polytechnic school instilled in me a method that I almost subconsciously apply to every aspect of my professional life. It’s an invaluable yet sometimes burdensome baggage that often traps me in patterns I find hard to break free from.

How would you describe your artistic style, and how has it evolved over time?

Actually, I began by doing what I always did in architecture, but instead of blueprints and technical drawings, I started creating imaginary and metaphorical structures and bringing them to life. Architecture isn’t just about buildings; it’s a tool to explore any theme because it resonates within all of us. Humans can inhabit not only physical spaces but also emotions, sensations, and ideas. We have the power to decide how much of ourselves to invest, whether to fill a space or leave it empty – creating a void, a silence, both physically and conceptually. That’s what drives me. Often, like with Foscarini, I play with contrasts, turning objects into small inhabited worlds. The resulting surprise is my gauge of success; if I manage to evoke wonder, then I know I’ve done a good job. Another crucial aspect is collage: while I sometimes abstract elements to convey a theme quickly, I always incorporate real characters and objects. This connection to reality is vital to me, and I meticulously choose their expressions, positions, and gazes.

What is your greatest source of daily inspiration, and how do you cultivate your creativity?

Without a doubt, people and their diversity are my main source of inspiration. My illustrations rarely shout a direct message, becoming sort of manifestos. Instead, they paint a picture of an ideal future for me. They predominantly feature people; the human element is essential for interpreting the image itself. Living in bustling metropolises like São Paulo and Hong Kong has sharpened my perception of others’ lives, allowing me to recognize uniqueness within the multitude. share a common essence while retaining their distinctiveness. Perhaps this is why I love big cities: this shared sense of identity is more common and feels tangible, almost necessary.

I nurture my creativity by observing and continually capturing subjects, places, and atmospheres through photography; my computer is filled with countless folders of images that I revisit and utilize as needed. However, none of this would be feasible without ongoing study and an insatiable curiosity about the past (what has already been done, the masters, the baggage we carry) as well as the present. We live in an era where stimuli are excessive and everywhere, and we must develop our own critical perspective. I believe this is extremely important.

Tell us about how the collaboration with Foscarini came about.

Foscarini has been a constant presence in my life as an architect, from their products to Inventario. Collaborating with them is what I’d call a “dream project” – it’s the perfect fusion of everything I hold dear.

In the project “What’s in a lamp?” for Foscarini, you created fascinating ‘micro-worlds’ around the lamps in the collection. Can you tell us more about the inspiration behind this series?

The starting point was the Foscarini products themselves. I wanted them to take center stage in the narrative, so I began examining them in terms of their interplay of solids and voids, each with its own life defined by time and light – whether natural or artificial – and the resulting shadows. It felt almost instinctive to envision them as miniature architectures around which life revolves. Time unfolds in a sequence of mornings, afternoons, evenings, and nights; the lamps themselves seemingly remain unchanged, yet they possess this remarkable ability to illuminate and come alive, subtly transforming the space and the life around them. It’s a subtle enchantment, a reflection on the everyday magic that surrounds us – only difference here: it’s magnified on a different scale.

Are there objects that, like the Foscarini lamps in your series, represent fixed points, constant presences around which your daily experiences develop?

I’ve lived in numerous homes and have a complicated relationship with the notion of home itself (perhaps this is where my obsession with dwelling comes from), and over time, I’ve become increasingly selective in choosing the objects that surround me. However, the one constant, the “anchor” in each of these homes, I believe, has always been the dining table. Life in the entire house revolves around that table – from meals to preparation, from studying to work, from experimentation to play, from conversation to hospitality. In fact, it currently occupies almost the entire house. In fact, it currently dominates nearly the entire house. If I had to pinpoint specific objects that have accompanied me in these eleven homes, they’re all small and easy-to-carry items: a wooden Holy Spirit, a gift from a friend; a book by Zumthor; an old photograph of my grandfather capturing the blossoming of a succulent plant; an engraving of a group of Brazilian araucarias. It’s like a small, portable Wunderkammer.

Can you delve into the narrative aspect of your creative process?

The storytelling behind each piece is crucial and holds a significant role; it enriches and shapes the work itself. Deciding what to say, to what extent, how to express it, and what tone to adopt influences all subsequent formal decisions, from composition to color palette. Personally, the works I prefer are those that don’t aim to provide definitive answers but rather provoke questions. I believe the illustrations created for Foscarini exemplify this approach: they portray life unfolding around the lamps, but they don’t give us instructions on how we should interact with them. Instead, they prompt us to reflect, to see ourselves within them, and to ponder what role we might have played, which moments of the day resonate with us, and which type of light makes us feel most at ease. They serve as a connection to the lamps depicted, outlining paths that bring us closer to them and make us want to take part in this carousel of life.

What is your favorite illustration within this project, and what does it mean to you?

Each of these illustrations has been a personal journey for me, but I must say I have a special fondness for Cri Cri’s night. It’s the only lamp I depicted illuminated during the nighttime hours because its resemblance to a small lantern immediately conjured up the enchantment of a night filled with life. In this intimate and magical moment, a child is captivated, absorbed in the pages of a book, making the space feel alive with possibility.

What is your favorite subject to draw?

Children are my favorite subject to draw, for several reasons. Firstly, they effortlessly convey concepts and emotions, as their activities often encapsulate complex ideas in a simple and immediate manner. Their play serves as a metaphor for life itself. Additionally, they are a joy to draw; I’ve been told that I smile while sketching them. In short, they’re the best antidepressant.

What is creativity for you?

I’ll answer by echoing the verb you chose in the previous questions to talk about creativity: cultivate. I think this verb encapsulates its essence perfectly: it’s alive. Creativity demands daily nourishment, attention, and nurturing, but also the ability to make it grow and shine. A capacity that is linked to preparation, as well as innate predisposition.

Fausto Gilberti is a versatile artist—painter, illustrator, and author of books that narrate art, especially contemporary and conceptual art, with irony and curiosity. His distinctive style, teetering between painting and drawing, graphics and illustration, unfolds narratives through images where stylized characters with large eyes emerge against an undefined white background, creating unique yet immediately recognizable scenarios.

His iconic black and white characters navigate an ethereal space, interacting with Foscarini lamps to craft scenarios that are both ironic and surreal. A minimalist and synthetic trait, the result of years of research to find a personal and universal graphic signature representing the human figure reduced to its bare essentials. In this trait, a common thread with the design philosophy of Foscarini lamps comes out clearly: the quest for synthesis, eliminating everything that is superfluous to achieve the essence. Gilberti states: “With drawing, I have always sought simplicity of forms and purity of the sign. I found these formal elements also in Foscarini lamps. In drawing them, I immediately noticed that their shape was in perfect harmony with that of my figures.”

In this exclusive series of drawings, Gilberti’s archetypal little men and women engage with Foscarini’s designer lamp collection—supporting, embracing, and figuratively immersing in their light and form. Offering a unique perspective on the intimate relationship between the individual and light. The black and white illustrations are vibrant and expressive, with subtle details distinguishing the stylized characters, and the lamps—the sole splash of color—contributing to defining the personality of each interacting character. Just as when we choose these lamps for our homes, they become a part of our story.

Follow the “What’s in a Lamp?” project on Instagram to explore the full series and delve into our exclusive interview with artist Fausto Gilberti. Discover his sources of inspiration, artistic journey, and more about this collaboration with Foscarini.

How did your artistic journey begin? Did you always feel that art would be your calling? What was your first significant experience in this world?

As a child, I observed my older brother Mario painting, and I mimicked his actions. Mario, who is much older than me, often took me to exhibitions across Italy and to art cities to admire the works of ancient painters. Even now, his favorite artist remains Beato Angelico above all others.

In 1987, I was a student at art school. During a geometry class, I secretly worked on a drawing depicting hundreds of small figures, completely filling a small sheet of paper. At some point, the teacher noticed my lack of attention. Approaching with an initially threatening manner, he discovered I was drawing. To the surprise of both me and my classmates, instead of scolding me, he exclaimed, ‘Bravo, Gilberti, keep going.’

That specific drawing, titled ‘The Nun,’ showcases 562 little characters, each two and a half centimeters tall, arranged in ten rows. I still have it, and I consider that moment as the beginning of everything.

What drives your creative process? Is it fueled by curiosity, the quest for meaning, or a pursuit of pure visual expression?

I am attracted to all kinds of images, not just artistic ones. Whether they are shared on social media, featured in a glossy magazine, described in literary texts, or brought to life in a movie or evoked through musical experiences—any image that captivates me has the potential to inspire my work.

Your minimalist and synthetic style, with stylized characters featuring big, expressive eyes, has become your trademark. How did you develop this distinctive trait?

It was a slow process of synthesis and reduction of my signature.

As I mentioned, some years ago, I drew detailed human figures. Each little man or woman was different from the others, each with unique characteristics— they were characters. Now, the little figure I draw is the universal representation of humanity reduced to its essentials.

Let’s talk about the project for Foscarini’s “What’s in a Lamp?”. What specifically inspired you in this collaboration? Which piece is your favorite within this project, and what does it mean to you?

In my drawings, I have consistently aimed for simplicity of forms and the purity of the sign. I discovered these formal elements in Foscarini lamps as well. When sketching them, I immediately noticed that their shape was in perfect harmony with that of my figures.

Of all the drawings I created, my favorite is the one featuring the Gregg lamp. I wanted to convey the sweetness, poetry, and elegance of that lamp. The concept of embracing it emerged almost instinctively.

Despite the minimalist style, many of your works effectively convey complete stories, lives, situations, and emotions with just a few strokes. Could you delve deeper into the narrative aspect of your creative process?

Sometimes, a subtle adjustment in the thickness of a line has the power to entirely transform the appearance and meaning of a drawing. Putting marks, shapes, and colors on paper is akin to composing a musical piece—where the notes remain constant, yet you have an infinite possibility of combining them, and a small change transforms the music.

What inspires your work? What aspects of reality captivate you, and how do they influence your artistic style?

I have always had a deep admiration for medieval and early Renaissance painting, and I have always tried to compose my works by drawing inspiration from the formal characteristics of these artistic periods. The symbolism, essentiality, and tranquility of medieval painting; the harmony, balance, and narrative power of the Renaissance. Although I received artistic training in the contemporary art world, I’ve consistently explored and studied diverse creative fields.

Some years ago, one of my main sources of inspiration was music—music videos, album covers, and the imagery associated with certain musical genres. I painted many works on this theme and published a book featuring around 200 drawings.

Cinema has also been a frequent source of inspiration. In 1999, for one of my very first solo exhibitions, I created a series of works (oils on canvas, drawings, and murals) inspired by David Lynch’s Twin Peaks.

I firmly believe that every artist tells their own story; their work is always “autobiographical.” In my work, all the experiences of my life, my passions, as well as my obsessions, find reflection.

You’ve created a series of illustrated books with Corraini Edizioni recounting the lives of diverse artists like Piero Manzoni, Banksy, and Yayoi Kusama. What motivated you to narrate the life and works of other artists, and what is the importance of doing so through the lens of a fellow artist? How does your artistic approach reflect in these biographies?

The first book in the series on contemporary artists happened almost by chance. The idea occurred to me while visiting Piero Manzoni’s exhibition in Milan in 2014. I had brought my two children, Emma and Martino (then 7 and 8 years old), even though I was afraid they might get bored. I observed them wandering around the rooms of Palazzo Reale, intrigued and amused, looking at Manzoni’s bizarre works with astonishment. It was then that I realized my next book would tell a true story — the story of Piero Manzoni.

After publishing the book, I realized that there were other conceptual and revolutionary artists akin to Manzoni, often unfairly prejudiced by adults, who hadn’t been introduced to children. So, with Corraini, we decided to start a dedicated series. I approach these books much like when I draw or paint for an exhibition — with complete freedom and without setting educational or pedagogical objectives. My goal is to have fun and entertain the audience by telling them a story, though complex, in the most minimal and effective way possible, putting considerable effort into synthesizing both the graphic sign and the text.

Who were your mentors or major influences that played a significant role in shaping your artistic vision?

Contemporary artists like Yves Klein, Keith Haring, Jean Dubuffet, Jochum Nordstrom, Raymond Pettibon, and many others. Ancient painters like Rosso Fiorentino, Piero della Francesca, Jan Van Eyck. Writers like Cormac McCarthy and Raymond Carver. Directors like David Lynch and Lars Von Trier. Musicians like Miles Davis, The Cure, Joy Division, Radiohead, Apex Twin, Nine Inch Nails, Bon Iver, Alt-J.

Do you follow a specific ritual or set of habits when you draw?

Let’s say I almost never draw in silence. Instead, I either listen to music or have a movie or TV series playing in the background… and I peek between one pause and another, which is when I lift the brush from the sheet.

What does creativity mean to you?

It is the ability to look at the world and everything within it from multiple perspectives. Seeking what may not be immediately evident to most. And reinterpreting in a personal way what we have discovered and understood.

Milanese artist Stefano Colferai stands out as a versatile talent. Starting with graphic and digital illustration, he ventured into 3D modeling and then seamlessly delved into sculpture, embracing the rarely used medium of plasticine. His engaging and ironic characters and animations have captured attention globally, gaining recognition from publishers and magazines overseas, and expanding internationally the reach of his art.

In his series for Foscarini’s “What’s in a Lamp?” editorial project, Stefano Colferai explores the relationship between light, lamps, individuals, and the home—drawing a parallel with another Foscarini editorial project: VITE (by Foscarini and Gianluca Vassallo, more information on vite.foscarini.com), which has been a major inspiration for the artist. The result is an animated series in which Foscarini lamps seamlessly integrate into the daily life of a friendly plasticine character throughout the day, from morning breakfast to evening binge-watching.

In this exclusive interview, we explore Stefano Colferai’s creative world and dive into his collaboration with Foscarini. The artist shares his artistic journey, the choice of plasticine as a distinctive material, and shares insight on the crucial role of light in his art.

Tell us about yourself: did you always know you wanted to be an artist? What led you to sculpture?

Absolutely! I’ve always had the desire, will, and need to express my ideas through various mediums, constantly seeking what could best align with my imagination and bring me satisfaction. It has been a self-taught journey centered around creating characters, starting from drawing on paper to digital art and finally transitioning to sculpture.

Why did you choose to work with a material like plasticine? How did you learn to use it?

During a phase of stylistic exploration, I was drawn to the 3D world to add depth to the characters and illustrations I was creating (approximately ten years ago). As I delved into 3D and experimented with digital tools, I realized that my creative turning point could lead me towards a more artisanal direction, bringing me back to the genuine hands-on approach. I began working with plasticine and photographing it, following an intuition to use it as a material for my sculptures while staying true to my style from that era, simulating a real 3D effect.

What is your creative process? Do you have any rituals when creating your sculptures?

It’s very spontaneous; I rarely sketch ideas because I prefer to visualize and immediately shape an idea I’ve had with my hands. Perhaps my ritual is jotting down all my ideas on my phone’s notes to avoid letting them slip away, revisiting them when I can bring them to life. From that point on, it’s a continuous flow between sculpture, photography, animation, and post-production.

What role does light play in your art?

The role of light is fundamental: my works wouldn’t exist without photography! While there’s consistency in the lighting of my works, I’ve conducted extensive research over the years to find the best relationship between my subjects, set, surroundings, and lighting, attempting to construct a narrative through light. Communicating through photos and videos, the right light can significantly enhance a sculpted piece and frames arranged in sequence to create an animation, establishing the proper atmosphere and defining the body and character of each scene. Studying the light in every animation or still frame is one of the moments I invest the most time in, along with modeling.

How did the collaboration with Foscarini come about?

Certainly through a shared interest in crucial elements such as light, attention, an appreciation for form, and craftsmanship.

In this project, you’ve depicted domestic, familiar scenes where Foscarini lights and lamps accompany the main character, telling something about his personality, activating sensations and emotions that are easy to relate to. Can you tell us more about the inspiration behind this work?

I found Foscarini’s VITE project fascinating from the start, depicting the relationship between light/lamp, person, and home through photography. It was greatly inspiring for me to capture imperfections in the shots of these narratives where light is abundant, attempting to question how the relationship between a person and their home has changed over the years. Engaged in character design and stimulated by Foscarini’s project, I wanted to create my own character and let him live in various hypothetical settings, much like snapshots of lives. The character thus experiences his daily routine accompanied by the light and form of the lamps in different rooms, preserving the language that characterizes my artistic style with the same spontaneity as the VITE stories.

Are there objects that make you feel “at home” wherever you go?

Yes, and I’d include coffee cups, armchairs, wooden tables, lamps, picture frames and prints, maps, chests of drawers and shoe racks, record players and records, board games, and cards in the list. I could go on; the list is long!

Which scenes do you like the most in this series and why?

I’ve become fond of the painter’s scene, which I connect to my grandfather both in the set’s construction and in terms of light and ambiance. He always painted, replicating landscapes from postcards, photos of landscapes from newspapers, or memories of his places. The painting of Venice that the character creates is an Easter egg that references Foscarini’s origins but also reminds me a lot of him.

What are your sources of inspiration, and how do you cultivate your creativity?

I have several sources, and I try to keep them alive. I enjoy markets, where you can encounter people of all kinds, observe unexpected situations, smell aromas, and listen to different sounds, noises, and languages. I find inspiration in visiting galleries and attempting to understand artists I didn’t know, appreciating them or not. I’m inspired by anything involving manual effort and creativity, by people who surpass their limits and sporting achievements. I’m inspired by those who achieve their goals, but also by those who try with all their might and don’t succeed. I’m inspired by those who bring about change, and I find great inspiration in being in the shower. I’m inspired by traveling and stepping out of my comfort zone. I’m inspired by stories. There are many things that inspire me, and I try to cultivate my creativity as if all these things were lightbulbs to be turned on at the right moment!

What does creativity mean to you?

Making visible what has not yet been created.

Embarking on a fresh chapter within Foscarini’s “What’s in a Lamp?” editorial project, Italian artist Luccico pushes the limits with an unparalleled artistic interpretation of ‘augmented reality’. The sophisticated product shots by photographer Massimo Gardone meet Luccico’s imagination, giving rise to unexpected and surreal narratives. Iconic lamps take center stage, transforming into protagonists in a visual fairy tale.

Luciano Cina, better known as Luccico, is not just an artist; he’s a storyteller who breathes life into the ordinary. With a background in Ecodesign from the Polytechnic University of Turin, his artistic journey began with a serendipitous nickname —”Luccico”— crafted during his college days. Fast forward to 2014 Luccico introduced the #MoreThanAPics project on Instagram: everyday landscapes photographs metamorphosed into surreal using only his fingers, a tablet and some unique fresh strokes of creativity, playfulness, and irony. Thus, a theater is transformed into an aquarium, an asphalt pothole into a polar bear, an oil slick becomes a wild horse, and the colonnade of St. Peter’s is a jazz music ensemble. To Luciano Cina’s eyes, even the most ordinary detail can be turned into a work of art.

Foscarini, trailblazer in design and innovation, discovered Luccico in 2015, marking the beginning of a collaborative journey. Today, this collaboration takes center stage in Foscarini’s “What’s in a Lamp?”— the editorial project that transforms Instagram’s @foscarinilamps feed into a virtual gallery, showcasing both established and emerging artists each armed with a unique vision and artistry, interpreting Foscarini’s collection in ways that are distinctly their own.
Luccico’s series for “What’s in a Lamp?” is a unique blend of photography and illustration starting from six meticulously composed product shots by photographer Massimo Gardone, that become the perfect canvas for his reinterpretation of Foscarini’s iconic lamps. The result is a series of images that invites viewers to explore enchanting stories that extend beyond photography. In this visual narrative, lamps emerge as protagonists, weaving tales inspired by their distinct design stories and features, infused with a touch of his whimsy.

“I’m always on the lookout for little details that connect to my imaginative world —a dream place where imagination knows no bounds. The flexible rod of Marc Sadler’s Twiggy floor lamp became the catalyst for a wonderful fishing story. Every subtle gesture contributes to kindling the flame of creativity, and I aim to always see our surroundings with the unfiltered wonder of a child.” Luciano Cina aka Luccico

Read the interview and immerse yourself in the enchanting world of Luccico’s imagination, where each stroke of creativity breathes life into the ordinary, transforming it into something extraordinary.

Tell us a bit about yourself and your artistic journey: how did “Luccico” come about? When did you start drawing?

Luccico is a nickname from my university days. I was just playing around with my name—Luciano became Lucio, then Luce, and boom, Luccico popped up. As for drawing, it all started quite by accident. When I secured a plane ticket to what would soon become my new city, I was lost in my thoughts and ended up sketching an airplane amid clouds on my smartphone. I shared it on social media, and that changed my life. Almost a decade later, I’m still telling that story.

In 2014, you began publishing on Instagram your “augmented reality” photos, that come to life with your overlay illustrations. When and how did your creative project originate?

‘Augmented reality’ is indeed a spot-on description for the #MoreThanAPics series, born in 2014, because it goes beyond just snapping photos. The idea sprouted from a desire to add something extra to pictures—a message or a thought. I’m always on the lookout for those small details that can act as a bridge to my imaginary world. I enjoy blending everyday scenes with fantastical and surreal landscapes, creating a dream place where imagination knows no bounds.

Your images tell stories through the visual language that resonates universally. In your creative process, how do you develop the narrative, crafting a tale from an image?

I definitely let emotions guide me in the creative process. To find the right inspiration, I observe everything around me. Sometimes, it’s the same subject seen from different angles that sparks my creativity.

The collaboration with Foscarini began in 2015, almost by chance, and is now renewed for the “What’s in a lamp?” project. Six product shots by photographer Massimo Gardone meet your imagination, resulting in unexpected and surreal scenarios. Can you share more about the inspiration behind this work?

Oh, the first collaboration is a memory etched in my mind. For a design student like I was, it felt like a dream coming true. Foscarini is renowned for its originality and innovation, so being associated with such a globally recognized brand is a source of great pride. Massimo Gardone’s elegant photos, marked by a clever and subtle use of light and color, provided me with the opportunity to explore and ironically reinterpret the design of Foscarini’s iconic lamps.

Which illustration(s) in this series do you like the most and why?

I’d say Marc Sadler’s Twiggy floor lamp. Its flexible rod, resembling a fishing pole, was the perfect inspiration for a wonderful fishing-related story.

Your creations require both creativity and the knack for perceiving reality from distinct and original angles. How do you keep your ideas fresh and what serves as your wellspring of inspiration?

Training creativity takes time. I dedicate moments to explore, experiment, and play because through imagination, we can unleash our creative potential. Whether it’s a quick sketch, a stroll through the city, reading something outside my usual genre, or just gazing at clouds—every little gesture contributes to keeping the spark of creativity alive. And I hope I never tire of observing our surroundings with the eyes of a child.

Do you have a favorite subject to draw?

I enjoy sketching paper airplanes as they symbolize the weightlessness of thoughts. Oh, and here’s a sneak peek—I’m in the process of crafting a character that will consistently appear, becoming a familiar presence in my upcoming works.

Do you have a drawing ritual?

I usually draw at night. After a hectic workday, it’s my way to unwind. I try to keep my drawings under 30 minutes—direct, simple, clear, with just a few lines. Anything beyond that makes the message harder to understand.

What does creativity mean to you?

Creativity, for me, is a spark that ignites the imagination and transforms the ordinary into something extraordinary.

Alessandra Bruni is a dreamy soul, born in ’97, dancing with creativity. Illustrator and tattoo artist, she has always had a passion for art. In the last few years, she is emerging as one of the most inspiring voices on the Italian scene, who has managed to gain the attention of important newspapers such as The New York Times, L’Espresso and Internazionale. Her passion for illustration, however, is relatively recent: it was during the pandemic period caused by Covid-19 that she started to share her illustrations on Instagram. Her works, inspired by news topics, deal with emotions and human connections. Her unique style, minimal yet highly evocative, offers an immediate and profound perspective.

In her series for the project “What’s in a lamp?”, Alessandra makes light the protagonist by creating homely scenarios that are at the same time familiar yet unexpectedly surprising. Stories told through images in which each lamp harmoniously echoes the personality of the protagonist, revealing it and triggering feelings and emotions in which one can easily identify. As if they were open windows on our everyday life, these images seem to be talking precisely about us, about who we have been or who we will become, while creating atmospheres that are almost tangible as they convey deep intimacy.

Discover the full interview with Alessandra Bruni and immerse yourself in her captivating world of light and emotions.

Can you tell us a little about yourself: did you always know you wanted to become an illustrator? When did you start drawing and how did you get to develop/evolve your style?

I didn’t really know from the beginning that I wanted to actually be an illustrator, but I have always dreamed about working in art and dedicating my life to this. I started drawing at a very young age, by the time I was three years old I already had crayons in my hands and I enjoyed doodling at the computer using Paint, which I might describe as a kind of first approach to the digital world. Throughout my school days, although I did not choose an artistic course, I practiced realistic drawing in an almost obsessive way. Life drawing was the first stage of my journey as an artist. It was like I wanted to absorb the shapes of things, faces, and bodies. As I grew up, the need to give meaning and content to the images took over, so I began to pursue conceptual illustration. My style is constantly evolving, it naturally adapts to the different stages of my work and personal experience, of course there is a component of research but still the instinctive factor is highly influential.

How did the collaboration with Foscarini come about?

The collaboration with Foscarini originated from what is probably every artist’s dream. They noticed my work in a bookstore, having read my name in the back cover of a book I illustrated. For me, there is nothing more fulfilling than realizing that my work was discovered purely by chance, genuinely, and was appreciated for what it is. It’s akin to stumbling upon a little truth in the proverbial saying “being in the right place at the right time.”

Your illustrations are undoubtedly stories, conveyed not by words but through the powerful and universal language of visual art. Could you share with us some insights on how you approach the narrative aspect of your creative process?

We are currently living in a time when individuals strive to have their voices heard, often trying to overpower one another without taking a moment to pause and reflect. I aim to swim against the current. My favorite aspect of creating is the act of listening. I make an effort to absorb as much information as possible and then transform it into visual imagery. It’s simply a matter of selecting the appropriate elements that, when combined, have the power to convey more than a multitude of words ever could.

In this collaboration with Foscarini, you have beautifully captured domestic scenes that are simultaneously familiar and surprising. These illustrations depict situations where light takes on a transformative power, almost becoming a tangible presence, and giving rise to unexpected and surreal scenarios. Can you shed more light on the inspiration behind this captivating work?

Before delving into the creation of these illustrations, I had the privilege of hearing Carlo Urbinati, the founder and president of Foscarini, share his stories and his deep passion for his work. His words resonated with me and served as a tremendous inspiration. This project allowed me to explore the concept of light and view it as a living entity.
Light, both in our daily lives and in the realm of art, has the ability to enhance and bring greater significance to various elements. In this series, I wanted to place light itself as the main protagonist. The concept of “illuminating light” deeply fascinated me, and I thoroughly enjoyed playing with it to develop this collection of illustrations. Throughout the process, I made sure to give equal importance to shadows, as they complement and enhance the overall composition.

In this series, lamps serve as the pivotal element that transforms a simple “space” into a warm and personal environment we can truly call home. They define the atmosphere, offering insights into the protagonist’s personality and evoking emotions that resonate with us. Are there any objects that have a similar effect on you, making you feel “at home” wherever you go?

As I reflect on these questions, I find myself in a uniquely special moment in my life. I’m on the verge of purchasing my first home at the age of 25. Until now, my focus has always been on constantly moving and never settling down. However, now I finally feel the yearning for a sense of “warmth” and a space to truly call my own. Over the past few years, I’ve found myself in various contexts, frequently moving from place to place. Throughout those transitions, there’s one item that has consistently accompanied me: boxes of books. Some of these books I’ve cherished since childhood, and they have become an integral part of my living environment. They help define the atmosphere and bring me a sense of serenity. Honestly, I hadn’t previously taken a moment to ponder this topic, but I’m eager to discover what other objects will come to define my home.

Which illustration(s) do you like the most in this series and why?

It is quite a challenging task to pick a single “favorite” illustration, as each image in this series is truly unique, just like the lamps that served as my inspiration. However, if I had to choose, I would probably go with the one I created for the Gregg suspension lamp. This illustration portrays a girl in a state of deep absorption while standing by a window. What makes it particularly captivating is the way the lamp’s light reflects off the sea outside, creating a fascinating paradox. By doing so, I intended to elevate the lamp to the role of the “sun” within the domestic environment. Interestingly, this illustration also symbolizes the seamless connection between the indoors and outdoors, blurring the boundaries between them. Ultimately, this metaphor is meant to emphasize the intricate interplay between our inner and outer worlds.

Your work encompasses a wide range of subjects, from current events to human connections, and from personal emotions to environmental and social issues. Among these diverse subjects, which one do you find most enjoyable to draw? In which area do you feel the most at ease?

I’m always on the lookout for new sources of inspiration for my art, but one theme that remains constant is the human figure. Almost all of my illustrations involve humans interacting with their surroundings. This is because I find the various dimensions of the human soul and psyche endlessly fascinating. Throughout history, humans have exhibited an exceptional capacity for creating both remarkable and beautiful works, as well as committing terrible and sometimes irreparable actions. Perhaps it is the complexity of our nature that intrigues me the most. At the same time, I find great comfort in delving into this broad theme, as I myself experience a range of emotions on a daily basis. Drawing not only serves as a cathartic outlet for me, but also as a means of communication with others.

What are your sources of inspiration for editorial illustration, considering that inspiration and creativity are vital in this field?

I draw inspiration from various sources. Firstly, I find inspiration in my surroundings, paying close attention to the environment in which I live. Additionally, films, works of art, and photographs serve as excellent models that inspire me to create something fresh and unique. Moreover, I actively follow and find motivation from accomplished Masters of illustration who continuously inspire me to improve. Some notable names that have influenced me include Noma Bar, Ivan Canu, Beppe Giacobbe, and Pablo Amargo.

How do you define creativity?

Creativity, to me, is an internal drive that paves the way for endless possibilities. It entails a deep-rooted need to create new connections between diverse elements. In fact, life itself owes everything to the power of creativity. When I create, I embark on a journey of exploration, growth, and above all, enjoyment. It brings me a sense of purpose, as if I am fulfilling my true purpose in the world. While this feeling may seem irrational, I wholeheartedly embrace it as it brings me immense joy and satisfaction.

“With just a simple ballpoint pen, new participating artist Kevin Lucbert creates and develops landscapes that exist somewhere between the familiar and unknown.His signature style blurs the divisions between writing, drawing and painting. Urging us to explore our dreams and scribble. Taking a commonplace object – a simple pen – and re-imagining it, turning it into an instrument of creative self-expression.

Self-proclaimed “”Franco-Berliner,”” Kevin Lucbert graduated from the National School of Decorative Arts in Paris in 2008, now splitting his time between Berlin and Paris as a member of The Ensaders — an artist collective that engages in performances, exhibitions and drawing workshops.
His creative process is rooted in the power of dreaming, and bringing his dreams to life. Stepping beyond the boundaries of consciousness, he fabricates enigmatic worlds that seamlessly blend natural elements such as the sun, water, earth, and sky. Through this captivating fusion, he challenges perceptions of reality, inviting audiences to embark on an awe-inspiring visual journey through space and time. With each stroke of his pen, the artist serves as our visionary guide, leading us to immerse ourselves in his vibrant and mystical universe.

In his series for Foscarini’s “”What’s in a Lamp?”” project, Kevin Lucbert ventured into Foscarini’s catalogue, allowing his imagination to run wild. The result: surreal scenarios fused with his signature style. Dive into a deep-sea abyss and encounter the captivating Chouchin medusas or some unusual lantern-fish with their illuminated Twiggy lamp heads guiding their way. Or gaze into the sky through the Nile table lamp, transformed into a colossal telescope to observe the moon, becoming a gateway to the universe and the sky.

Expand your horizons and witness Kevin Lucbert’s collaboration with Foscarini’s “”What’s in a Lamp?”” project by visiting @foscarinilamps Instagram channel. Experience the enchantment for yourself and allow his art to transport you to extraordinary dimensions. “

Tell us a bit about yourself and your journey as an artist. Were you always aware, to some extent, that this was the path you wanted to pursue?

I was born in Paris in 1985. As a child, I immersed myself in comics, reading and re-reading the family collection of classics such as Tintin and Asterix. I also discovered “auteur” comics through magazines like “Metal Hurlant” and “A Suivre”. Artists like Moebius, Tardi, Hugo Pratt, Enki Bilal, Druillet, and Comès published bizarre yet fascinating stories in their own personal style, featuring intricate black and white ink work. It greatly impressed my young mind, fueling my passion to become a comic book artist and cartoonist.
Years later, I studied art at the “Ecole Nationale Supérieure des Arts Décoratifs” in Paris, focusing on the “printed image” section. Here, I learned illustration, etching, silkscreen printing, graphic design, and even dabbled in filmmaking. The multidisciplinary approach of this school fostered open-mindedness and broadened my perspective. In 2005-2006, I had the pleasure of spending an Erasmus exchange year studying Kommunikationsdesign at the Kunsthochschule Berlin-Weissensee, an experience I deeply cherished. In 2012, I made the decision to relocate to Berlin, where my family and I have been living for the past 10 years.
Additionally, I am a proud member of an artists’ collective called the “Ensaders,” which I co-founded with two fellow students: Yann Bagot and Nathanaël Mikles. Since our meeting in 2002, we have collaborated on collective drawings, conducted workshops, and performed together.

We’re intrigued by your distinctive style, with ball-pen traits that skillfully manipulate shadows and light. How would you describe your style?

My style is figurative, leaning towards the simplification and abstraction of forms. I juxtapose straight, pure lines and geometric patterns with the curves and chaos of natural elements. The modern city, with its orthogonality, contrasts against the wild sea or the dark forest. I love combining these opposites. The biro pen allows me to create intricate details, almost like an engraving, while also using a ruler to trace grids or geometric patterns with clean and sharp lines. These different line behaviors, unified by the blue ink, provide a range of graphic possibilities that I enjoy exploring.

What inspired you to choose a ball-pen as your preferred medium?

I always use these pens as I enjoy sketching outdoors. They are always with me. I don’t like to carry too many tools or art supplies. The iconic blue Bic pen is something that everyone has easily accessible. It’s the instrument through which dreams take shape while scribbling on a piece of paper. It’s the same pen I used to doodle with as a child, filling the margins of my school notebooks. When on the phone, I use it to take notes, and then unconsciously create intricate patterns that intertwine on a post-it. I was curious to discover how I could express something different using such a simple tool and create a unique world with just blue ink.

Can you tell us about the significance of the dual blue-white scenario in your surreal illustrations?

I became fascinated by the unique blue color of Bic pen, with its peculiar blue-red shade. This blue can be explored with such great intensity. The lines can be criss-crossed almost indefinitely to create shades and depths, similar to the “eaux-forte” etching technique. In my illustrations, I use the white of the paper as a reserve to create contrast and luminosity, which enhances the significance of the blue color.
In my perception, blue is a color that is closely associated with the realm of dreams. It is linked to the world of water, night, and sleep – to the world of dreams that is rooted in the mystery of the Unconscious. The unconscious expresses itself in a strange language that art can try to translate. To me, a drawing, like any work of art, results from the alchemy that occurs between the conscious and the unconscious. The blue of Bic pen is so familiar to us that it has become an integral part of our psyche.

How would you describe your initial impressions of Foscarini’s lamps when you first encountered them?

I found them beautiful and elegant. The simplicity yet complexity of their shapes intrigued me. I saw more than just lamps; I saw stories of light that could inspire and ignite ideas within a home. Light plays a significant role in my monochrome work, and I often play with the contrast between light and dark areas. The beauty of light is heightened by the strength of the darkness that surrounds it. I often remember this quote from Stanley Kubrick: “However vast the darkness, we must supply our own light.”

In this series of artworks, Foscarini lamps become part of dreamy scenes, giving life (and light) to imaginary and surreal worlds. Can you tell us more about the inspiration behind this series?

The series is deeply rooted in surrealism, dreams, and fairy tales. During my childhood vacations spent in Brittany, my mother’s birthplace, I was surrounded by a land teeming with legends and peculiar creatures from Celtic mythology. Korrigans, spirits, and faerie folk inhabit heather moors and ruined castles, and these motifs consistently underlie my artistic endeavors.
I take pleasure in projecting contemporary objects into a surreal realm, where ordinary items like straight chairs, lamps, and modern parquet floors come alive, metamorphosing into strange entities that blur the boundaries between dream and reality. I started by observing the abstract form of the lamp and tried to imagine the emotions it could evoke in me. From there, I created a series of sketches, placing the lamp in various contexts. During the process, I often listen to music, which sets a particular mood and sometimes brings unexpected ideas and inspiration. I delved into the notion of how the lamp could become the main element, the actor, in a strange story.

Strange stories that resemble fairy tales and evoke a sense of Chagall’s style, did Chagall’s work influence your artistic vision?

Yes, I admire Chagall for his figurative yet dreamlike paintings. I also find inspiration in René Magritte’s surrealism. I would say that this series of drawings embodies the spirit of Georges Méliès’ films, particularly “Le Voyage dans la Lune”. It’s a fusion of fairy tales, poetry, and nocturnal surrealism. Cinema, too, utilizes light as a medium to create movement and stories. I hold great appreciation for artists who create striking universes and visions, such as Alfred Kubin, Odilon Redon, and Edward Munch. As a child, I loved comic book artists like Hugo Pratt and Moebius, as well as Roland Topor and his bizarre universe, particularly through the animated film “La Planète Sauvage”. They instilled in me a love for storytelling and the infinite possibilities of drawing.

What is your personal favorite artwork of your “What’s in a lamp?” series and why?

I love “Nuee”, because it reminds me of Antoine de Saint-Exupéry’s “Little Prince” with its small planets and people living on it. Also “Rituals”, because it takes us, like in “Alice in Wonderland”, through the looking glass.

Your illustrations exhibit a fascinating interplay of simplicity and complexity, as the minimalistic pen strokes give way to compelling narratives. What is the role of storytelling in the art of illustration?

I love telling stories and bringing the extraordinary out of the ordinary. I initially began as a comic book artist, and my practice has gradually evolved towards creating a series of drawings that heavily emphasize the narrative dimension. It feels as if these drawings work together to construct a story, to depict an unknown dreamlike world. I believe that our desire to explore the unknown is intimately tied to our urge towards storytelling. Ancient Greeks practiced the “cult of mysteries,” a series of tales and legends reserved for initiates. For us, stories are essential, shaping our minds from a young age and coursing through our veins like blood. To capture people’s attention, few phrases are as magical and hypnotic as “Once upon a time.”

Can you walk us through your creative process for your artworks? How do you create space for new ideas to flourish?

First, while contemplating the subject, I take a moment to doodle and make random sketches and pencil drafts on paper. Along the way, certain sketches “ring true” by capturing the dynamics and momentum necessary for a finished drawing. A sketch is a captivating thing; with just a few strokes, it embodies the energy and core elements of the final drawing. Nonetheless, I remain open to modifying the drawing as I bring it to completion. New ideas may emerge during the creative process.
I seek inspiration from various sources: reading, music, and sometimes even in my dreams. One drawing often leads to the creation of another. In a series of works, my drawings follow a certain logic, sometimes narratively connected and other times contrasting the previous one. At times, drawings even form their own “mini-series,” as exemplified by the untitled series “Meditation 1,2,3,…”
As a reference, I truly enjoy reading the books of psychiatrist Carl Gustav Jung. His studies on the unconscious and dreams fascinate me. His approach is profoundly creative, brimming with ideas and visions. He examines numerous images and symbols from art history and our “collective unconscious.” For instance, what do figures like a tree, water, or the sun mean to us? His exploration of mythology and archetypes is remarkably captivating.

What is design for you?

To me, design is the infusion of spirit into matter. It is the breath that breathes life into raw materials. It is the act of filling objects with love, with the hope that they reflect that love back to everyone. We all desire to encounter artifacts that have souls and stories to tell.

Foscarini’s “”What’s in a Lamp?”” project has entered a new chapter featuring Maja Wrońska (@majatakmaj), a talented watercolor artist from Poland. Her breathtaking paintings of European architecture showcase her balance of dramatic line-work and pastel watercolors. Maja is not only an artist but an architect as well, making her a unique and creative inspiration.

In this new chapter of the “”What’s in a Lamp?”” project by Foscarini, Maja Wrońska has created a stunning series of artworks that showcase the transformative power of Foscarini lamps in architectural spaces. Surprisingly animated watercolor paintings that beautifully capture the emotions and life of buildings, with the lamps becoming a significant feature and focal point.

What makes these artworks truly captivating is how they come alive as the city transitions from day to night: the interiors of the buildings, which are seen from the outside, suddenly take center stage as the Foscarini lamps illuminate them in the night.

Experience the magic and enchantment of Maja Wrońska’s artwork in @foscarinilamps Instagram feed and read more about her creative process, influences, and balancing multiple creative disciplines in our exclusive interview.

Tell us about yourself and your background. How did you get into art and what motivates you to create?

I’m Maja Wrońska, an architect and watercolor painter from Poland. Growing up, my mum, who is also an architect, allowed me to paint and draw with her professional tools. In Poland, to study architecture, you have to take a drawing exam. So, I took drawing classes to prepare for the exam. When I got to university, drawing and painting became a part of my curriculum as well. My interest in watercolor painting developed during this time, and I created a profile on DeviantArt to share my work. To my surprise, it became popular and people started asking if my paintings were for sale. After graduating, I started my own business called Architekt Maja Wrońska, I begun to design architecture with my mum and sell my watercolors.

What is your favorite thing to draw?

I love drawing architecture, cities, and places.

Have you always been interested in architecture?

Yes, architecture has always captivated me.

How do Maja Wronska the Architect and Maja Wronska the Illustrator coexist and influence each other?

I consider myself an architect who also enjoys painting with watercolors. The process of designing a building can take weeks or even months, whereas creating a watercolor painting only takes a few hours. This allows me to complete smaller art projects in between my architectural work.

In this project for Foscarini we see superb pictures of buildings, that become so full of emotion and life. What attracted you to watercolors, and how did you come to the idea of animating them?

Thank you! I too am pleased with the outcome of our project. As an architect, I learned Photoshop and 3D programs to model and render architecture. I wanted to combine traditional art techniques like drawing and watercolor with modern techniques like animation and augmented reality. When Instagram started promoting reels, I decided to experiment with animating my watercolors and adding them to the Artivive app to see the effect of augmented reality on my original artwork. I initially started animating my watercolors for a car manufacturer competition. Although someone else won the contest, I was curious to see how my other watercolors would look animated in this way, so I continued exploring the concept.

What is the creative process behind your art?

I aim to paint the places I love and capture the beauty I see in them.
I begin my creative process by searching for a building that resonates with me, I make a pencil sketch and then add watercolors. Afterwards, my husband scans it, ensuring the scan captures the original artwork as accurately as possible. Finally, using Photoshop, I create a frame looping animation which I render as a gif and mp4.

In this series of artworks, you have beautifully captured the transformative power of Foscarini lamps in a space, both when they are turned off and when they illuminate, becoming the focal point. Can you tell us more about the inspiration behind this series?

This series is a continuation of my previous animations, which showcase cities and places transitioning from day to evening. Initially, I animated cars, then I started incorporating the lights of the buildings turning on and off. With the Foscarini project, I wanted to explore the interior spaces and highlight the impact of the lamps in transforming the atmosphere.

What is your personal favourite artwork of your “What’s in a lamp?” series and why?

From a watercolor perspective, my favorite piece features the red Tobia floor lamp. From an animation perspective, I would choose the artwork where the Gregg composition illuminates a building with large windows.

What are your sources of inspiration? Have you any favourite artists that inspires you?

Light, in general, is a major inspiration for me. I find it fascinating to observe how sunlight interacts with building facades and how buildings appear when interior lights are on. As for favorite artists, I admire Van Gogh and follow contemporary illustrators on social media, such as Pascal Campion.

What is creativity for you?

To me, creativity is the process of transforming available materials into something fresh and inspiring. It involves utilizing imagination and originality to produce innovative and meaningful creations.

Federico Babina is known for the surreal worlds he creates with his illustrations and animations, inspired mainly by architecture and design. His series are unique, distinctive, and recognizable thanks to a style that is expressed in details, the wise balance of colors and proportions, the grunge patterns and – above all – in the ability of the artist to create and stimulate unexpected and surprising connections that strike the eyes, mind, and heart of the viewer.

In his new series “Lux Like”, part of Foscarini’s “What’s in a Lamp?” project, Federico Babina has had fun searching for and recognizing animals in the shapes of some of Foscarini’s lamps. Like in a pareidolia, he reduced them to elementary shapes – circles, rectangles, triangles, and lines – and transformed them into animals with character and expressiveness that live, speak, and breathe in a parallel universe: a sort of design zoo.

This exercise develops creativity and imagination by encouraging elastic thinking: you don’t see the lamp for what it is, but you spot the elephant that takes shape from it. A series of illustrations where Federico Babina plays seriously around shapes and colors. Where everything that appears may not be what it seems. Lamps that make up a Foscarini design zoo where animals are made of design.

Tell us about yourself and your background. When did you start drawing, and how did you develop your signature style?

I am Federico Babina (since 1969), architect and graphic designer (since 1994), I live and work in Barcelona (since 2007), but above all I am a curious person (since always).
Every day, I strive to observe the world through the innocence of a child’s eyes, as they are able to have a totally unbiased view of things, free and unconditioned by experience. As a child, I dreamed of becoming an architect, and now that I am one, I sometimes long to be a child again.
I enjoy using different techniques to portray the world around me, and I am fascinated by the broad richness of language and the diversity of its forms.
I grew up with illustrated storybooks, enjoyed comic strips as a kid and took up architectural drawing in my adult life. Illustration is part of my world, fantasy and imagination
In my artworks, I aim to combine the rigor of architecture, the freedom of painting, the rhythm and pause of music, and the magical mystery of cinema. I try to mix seemingly unrelated languages that nevertheless dialogue with each other.

How do Federico Babina the Architect and Federico Babina the Illustrator coexist and influence each other?

An architect needs to be a good illustrator. Visual communication skills are an indispensable tool.
Drawing is the first step in shaping an idea. Ideas are then sculpted, modelled and transformed through illustration.
I do not take off the architect’s clothes to put on the illustrator’s costume.
The common trait in my work is myself. My approach and the way I work does not change depending on the job. I enjoy painting and I enjoy taking photographs as much as drawing and writing. I believe there is a certain expressive consistency in each and every one of us regardless of the medium we are using.
I can find analogies, similarities, and endless links between different expressive forms. Whether it is an illustration, a design object or a building, my creative process is very much the same and follows the same rules and paths. The creative process of an architectural composition is in line with the mechanisms that move and set in motion the engine of any intellectual creation.
Sometimes I am an architect with a passion for illustration and sometimes I am an illustrator with a passion for architecture.

How did the collaboration with Foscarini come about?

Foscarini contacted me asking me to find a personal way of interpreting a product idea rather than simply presenting an object as such. All this with a total expressive freedom. A collaboration of this kind is always a very exciting challenge. Objects exist and the point is to find a way of suggesting an alternative point of view.

In this project, you have combined humour and tenderness and put together an unexpected “zoo” starting from the iconic silhouettes of the lamps in the Foscarini collection. Can you tell us more about the inspiration behind this series?

The project is called LUX LIKE and works on perception. The idea is that of transforming the perception of the design object.
Our mind is capable of collecting and storing literally millions of images. Something that has always interested me is the associations we are able to make amongst these images.
Just like in ‘The Little Prince’: looking beyond the drawing of a hat and glimpsing the silhouette of a boa digesting an elephant.
In this project with Foscarini, lamps are transformed into animals that have character and expressiveness and that live, talk, and breathe in a parallel universe, a sort of design zoo.
As in a design pareidolia, I had fun in seeking out and spotting animals in the shapes of some of the lamps by Foscarini: it is a simple yet effective creative and imaginative exercise that allows us to develop ‘elastic thinking’.
Our gaze is unable to grasp the invisible and our mind mechanically draws its own conclusions and delivers its own rigorous judgements purely based on the evidence of appearance.
I have tried not to give the brain the rational input so that it can understand through knowledge but rather leave it free to look for an instinctive connection. To not see a lamp and interpret it as such, but to spot the elephant that embodies it.
LUX LIKE is a series of illustrations where I seriously play with volumes, colors and shapes. Where all that appears may not be what it seems.
Lamps that make up a Foscarini zoo where animals are made and built of design.

What is/are your favourite illustration(s) in this series and why?

I can’t choose amongst my illustrations. I can’t choose among my illustrations. It’s like asking someone to choose among their children. When I work on a series I see the single illustrations as pieces of a mosaic that represent a concept and an idea as a whole. They are elements of an overall jigsaw puzzle, none is fundamental and at the same time all of them as a whole are. The important thing is the overall composition that all pieces draw together.

In your illustrations and animations simple geometries combine to create arrangements that narrate, at a glance, stories that strike the eye, mind and hearth. Would you like to tell us more about the ‘storytelling’ component of your creative process?

As Bruno Munari used to say: to complicate is easy, to simplify is difficult.
Simplicity is the hardest thing to achieve. To simplify you have to remove, and in order to remove you have to be aware of which things are superfluous. One thing I always look for in my artwork is a storyline. A tale that takes you inside a story, like a door that opens into a parallel universe and offers the viewers some elements and tools to continue their story. The power of illustration is to leave a degree of freedom for interpretation. I start to tell stories and the viewer then continues them and sometimes even completes them.

Which are your main sources of inspiration in the world of art and illustration? And which architects do you appreciate the most?

Over the years I have immersed myself in and been nourished by the culture that was around me. We are like ‘blenders’ who mix and combine different ingredients to come up with a personal blend. There is not a single figure that I consider to be an inspiration. Many people inspired, helped, surprised and guided me. I don’t like to make rankings of this kind, I feel like a work-in-progress patchwork where several people, strangers or acquaintances, for better or for worse, have contributed and are still contributing to shape the overall composition and to define the arrangement of each piece.
I don’t really have any precise models or references. My sources range from the world of graphic design to art and architecture through comics and advertising. I have many lovers but I am not married to any of them….

Your work requires creativity and the ability to view reality from new and original perspectives. How do you keep your mind open and fresh to make space for new ideas? What are your sources of inspiration?

Well, I don’t really believe in inspiration. Ideas are there just there waiting for us – as long as we know how to spot them.
What I always look for is a generating element, a starting point from which to shape and sculpt an idea. Sometimes the image pivots around this central element as if driven by a centrifugal force, but other times it takes different and surprising directions. There is no rule in my creative process, it can either be a slow and laborious process or a sudden and intuitive one.
Looking for inspiration and ideas is a constant, everyday job. It is like walking towards a destination without really knowing how to get there. Sometimes you can easily find the way, and other times you get lost. However, all that matters is that you want to get there.
I try to look at things from different angles and perspectives. I experiment with flipping things over to interpret shapes without the constraints imposed by experience, trying to look at the world upside down. The world doesn’t change, the perspective does: looking at things to discover the voids, the silent parts and reveal the surprises concealed in the shapes.
I strive to listen and observe, to activate all my senses and then filter the information and come up with a personal result.

What is your favourite subject to draw?

Architecture is often the leading character. I like searching for (im)possible relationships between architecture and other realms and finding it in ‘sensitive locations’. I like discovering architecture hidden in parallel universes, and illustration helps me to explore alternative languages.
In my images, I try to create an imaginary and imagined dialogue among different worlds. The threads that connect and tie together the relationships can be either thin and transparent or strong and bold. A multifaceted and imaginative texture that connects architecture with seemingly different worlds in an illustrated ‘unicum’.
I try to find the hidden architecture and to make it speak a different language in order to reach an audience that may be ‘alien’ to architecture.

Do you have a ritual when drawing?

I am more productive in the morning and I usually have more ideas at night but I don’t have a fixed rule. Things can change and I am always looking for new ingredients to add new flavors to my visuals. I’m constantly changing, evolving, moving forward and sometimes even going backwards… and my projects follow my changes and fluctuations. I like to feel free, free to express myself without having to be limited in the prison of a specific style or form.
When I do my illustrations, I always use a combination of different techniques and software. From hand drawing to vector drawing and 3D modelling software. These different ingredients allow me to achieve the desired blend and mood. Every technique is a useful working tool. I like to mix and match different methods to create the graphic canvas, which always leads to more valuable results.

What is creativity for you?

This is a difficult question. Creativity is somewhat like making a gift. You have to choose it carefully. And once you have chosen the gift, you have to wrap it. The package is important, not only does it contain and protect it but it may or may not reveal the content. The paper that wraps it is like the surface of a creative artwork. It is the first thing one sees when receiving a gift. Finally, the ribbon, which is like a decoration that adds a touch of delicacy and elegance. Whoever observes a creative artwork of any kind is like someone who receives a gift. They unwrap it, open it and finally discover the surprise. Sometimes you like it and sometimes you don’t…