Bachis: Drawing the line to the subconscious

The works of Sardinia Born artist Bachis (Bachisio Scanu) have a striking aesthetic. He is a curiosity driven philosophical mind. From his paintings, to his drawings or his graphic design work: Via geometries he constructs and deconstructs common images at the same time, uses paintings to mirror his state of mind and draws lines that raise questions about the way we perceive the world. 

Self-portrait with nails / My heart

Self-portrait with nails / My heart

You have a degree in „Developmental psychology and dynamic-relational“. What kind of degree is this and how does it relate to your work as an artist?

In the context of Psychology, there are many tendencies of thought and a large number of approaches, and consequently there are many fields of study. The one in which I got a degree, is related to the study of the dynamics of psychological processes internal to the individual (classical approach) but also to the dynamics between the individual and the outside world, which means the study of the relationships between individuals. A systemic study of psychological facts.

I have always studied in areas different from art, but the relationship between it and any other cultural environment and study is the same that exists between men and art itself: everything is interwoven, everything is part of the same process of vision and imagination of reality. Science itself, in its pure core, is creativity. And psychology,  that has the philosophy in its DNA, is a science and gives the opportunity to open one’s eyes and imagination of what we live. Just like art. It all depends on who you are, on how you look at yourself and the world, sure, but what I studied and read allowed me to see the dynamics and relationships in what surrounds me, leading me to follow a certain symbolization of all this, and looking for a way to express what I feel and think; and that can sometimes be similar to the one of who views my work. Because there are images and symbols that join everyone, Jung docet.

You work with images and paintings, graphic designer and painter. How would you describe your profession?

I would like to start by saying that all these labels are useful in the world of resumees and social networks, and as such they indicate professional roles, but when it comes on the use which is made of them, they are empty. That said, my profession, what describes it and what describes me, is curiosity and imagination: these things reflect my profession. Because when a person is curious and tends to imagine, they can do everything. But I do not mean that everyone can do everything, I am against this fake and pop vision that is so widespread (everyone now describes itself or is defined as photographer, artist, painter, dj etc.): I would rather say that people with artistic talent in a certain area, if they also have curiosity and imagination, can extend the range of their creativity. In conclusion, I feel professionally represented by all the roles mentioned, because I put my artistic vision in all of them – while admitting that I was born and I am deeply a drawer and a painter.

When did you start exploring the geometries of images? And how do you decide: this is an image worth working with?

I’ll answer to both questions by saying: mine is a matter of ‚education of the eye‘. I think that is the reason behind it. I have always had a tendency to feel attracted by the symmetries and the prospects: everyone tends to observe, before another one, a particular or a component of an image, of a scene. In this sense, my eye is struck immediately by the perspective lines and from the symmetrical position of the subjects of the images. So, the choice of images to work on starts, first of all, by the presence or absence of those two elements that I prefer. But the work that exists behind is a research theme to find suitable images: a totally rational act. As for the photos taken by me, the process of selection of scenes upon which to work, I believe I can speak exclusively of an irrational, emotional act: an image that strikes me instantly.

Yetta thoughts and ghosts Metaphysics Tree elizabeth flamingos drive in me and metaphysics cheerleaders

The lines you add are both adding and exploring. How would you describe the images you produce through this technique?

Well said: I think that, at the same time, they add and explore. I always think that the lines must be both an aesthetic and conceptual enriching, in the sense that they must make the image visually richer but not weigh them down and make them ugly, and that they must offer a vision which is different from the initial picture, give it a new perspective and character, symbolize it.  Even the most ironic image or popular one, in this way, can mutate and acquire a feature and a sense that it did not have before, or had in a weaker way.  And of course, this work of lines has got my personal, emotional vision of the pictures studied, which is the definition I would give about this technique.

Do you draw inspiration from Social Media, like tumblr for example?

The Internet is full of inspiration, and if you have your own, personal culture, it becomes a powerful tool to search for information, images, history, art, knowledge: something that is also happening through Social Media lately.  Sometimes, finding things created by others, never seen, but very similar to what you do, can be scary but also fascinating. Of course, the ability to copy exists,  a not very original „inspiration“ as well, but it is also true that you are never alone, and – I repeat – there are images and symbols which are common to all of us … and as there are so many people in the world, you can also arrive at common points, while starting from distant lives. Besides, anyone in art history was inspired by someone else. So, of course, I feel inspired watching pieces on places like tumblr, but I always keep in mind the importance of representing myself, not another person.

whales couple  composite How much of a psychologist an artist has to be?

I have been wracking my brain for years to understand it. But I always get to the same conclusion: I am half psychologist and half artist. As I am half rational and half irrational. And I don’t mean that psychology is rational, but it definitely gave me the big and tough chance to see things from many points of view, to ask me questions – even opposed ones, to try so many truths and many perspectives of thought. Shall I call myself a PsychoArtist? I guess so.

Do you think that queer artists have a different stance to „identity“? Maybe even a more critical perspective due to their personal history?

It is difficult to talk about identity, because it can be seen as a closed definition in opposition to the idea of creativity as a free thing… but I do not think that’s right. Everyone has got an identity: each of us has got a family history, a history of life and its own history of experiences. All these features create what is defined as an identity. Artists, real ones, see and create starting from their identity. And they show it. You see it in the macroscopic differences among the works of different authors, you can see it in symbolism and recurring themes, it can be perceived by the emotional atmosphere that they convey. And I firmly believe – also for my personal experience – that the more life stories are complex and difficult, the creative impulse is more likely to take specific routes, both towards a greater intricacy and indecipherable world, or towards a seemingly extreme simplicity. Yes, we all create what we are, but in art there is something more: what comes out when a work impresses the viewer.

composite2 The Secret animals couple

More from Bachis on his website and on Facebook.

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