The “OTHER IDENTITY – Other Forms of Cultural and Public Identity” series, conceived by independent artist and curator Francesco Arena, aims to explore contemporary visual language through the work of artists who use photography, video, and performance to delve into themes of identity and self-representation. In this installment, we feature an interview with Stefania Zorzi.
Image: Portrait
OTHER IDENTITY: Stefania Zorzi
Given how our private lives are increasingly public and our self-representation is constantly evolving, how do you define art in your work?
«My art is deeply rooted in the body, emotions, life experiences, memories, and relationships, exploring the search for self through dialogue with spaces and objects. Self-portraiture, my primary technique, makes the represented body – my own – an intimate and necessary vehicle for capturing the soul’s reflections, while still creating a detachment from the final image. Art for me has always been a means to express the inexpressible, evolving into a philosophy of life, a path of inner exploration, transformation, and endless possibilities. I see it as the perception of self, of the surrounding environment, and of others; the cognitive power of a feeling that cannot be described but only perceived; and an incessant metamorphosis towards an essence that communicates directly and profoundly. This striving towards something never fully achieved fuels my practice, with the awareness that every representation reveals not only what it shows but also what it implies. The encounter with the viewer’s gaze, which brings their own history, adds further layers to the interpretation of the artwork. In this process, I celebrate the infinite manifestations of beauty in an intimate fusion of art and life, touching the intangible.»
Image: Stefania Zorzi, from the series In Bunker, 2015, self-portrait, digital photography
We form specific gender identities, choosing which characteristics to display. What is your “identity” within the contemporary art landscape?
«The concept of identity is complex, especially in contemporary art and even more so when using self-portraiture, where subject and object coincide. Discussing the artist’s identity, the artist’s identity within the artwork, or the artwork’s identity itself becomes a challenge. While one could say my artistic identity reflects in the work and vice versa, this is a limiting view, as it ignores the public’s interaction, which, with their own projections, defines further identities. Initially, self-portraits were a way to express inner feelings, to see and recognize myself, searching for my true identity through past memories and connections. The works revealed fragments of myself – connections, emotions – but the identity I sought was never fully defined, not even by combining all the images. I recall a self-portrait from the *In Bunker* series where my face was covered by an artwork with my own image printed on it: an infinite play of mirrors without ever a complete view. Over time, recurring symbols emerged, and gradually an artistic identity was constructed, both from my own traces and from the gaze of others, defining me as an artist who uses her body and emotions, amidst symbols and rituals, to reveal parts of herself. However, identity can be both a flexible support for new expressions and a restriction. My desire is for an identity free from static, defined labels. For this reason, my focus is increasingly on moments of transition, transformation, and experimentation, maintaining an identity rooted in physical perception, in the search for freedom, and in the authentic expression of my personal sensitivity. Perhaps this is the essence of a “naked identity”?»
Image: Stefania Zorzi, from the series Pubertà, 2021, self-portrait, digital photography
What importance do you place on social and public appearance in your artistic journey?
«The concept of “appearing” or “appearance” often suggests superficiality and a lack of authenticity. My research is deeply introspective, aiming for profound authenticity, so social and public appearance is not my primary focus. This doesn’t mean I ignore it; rather, I choose how and whether to interact with it. If “appearing” means showcasing one’s work to society and the public, then I consider it essential. This allows the artwork to be seen, understood, accessible, and to exist independently of the artist, generating new interpretations and connections. Whether this visibility remains superficial or is explored in depth depends on many factors, including the viewer’s willingness.»
Image: Stefania Zorzi, Das innere Ich (The Inner Self), 2019, self-portrait, digital photography
In the current search for new forms of identity and representation, where concepts like appropriation, plagiarism, or the ready-made of iconography are constantly debated, what value do you attribute to representation in your work today?
«For me, the value of representation today remains what it has always been: it offers the possibility of expression, inquiry, knowledge, and revelation. It acts as a mirror, a field for experimentation, a range of possibilities, a travel diary, and an object that establishes a relationship between creator and viewer. To this, a more stable value has been added, one I had already intuitively grasped and personally experienced, and which I am now exploring more deeply through art therapy: the therapeutic potential of representation itself.»
Image: Stefania Zorzi, from the series Tanz im Mausoleum. Ritual (Dance in the Mausoleum. Ritual), 2018, self-portrait, digital photography
Our public actions, including artistic creation, influence our daily and intimate lives, shaping how we present ourselves to the world. Do you define yourself as an artist in the eyes of the world?
«The meaning of the term “artist” has evolved over time, acquiring multiple layers. Living in Austria, my relationship with the German words “Künstler/Künstlerin” (artist) has revealed further nuances. What is its meaning for me today? And for the world? In response to your question, unless it is strictly necessary for descriptive purposes, I usually prefer not to define myself as an “artist,” while remaining attentive to the constant need for definition that surrounds us.»
Image: Stefania Zorzi, Oltre (Beyond), 2022, self-portrait, digital photography
If you could choose another “cultural and public identity,” what would you have wanted to be?
«None, in truth, although the profession of “music composer” greatly fascinates me. It wouldn’t be a choice based on cultural or public identity, but rather on the desire to personally experience the talent of expressing and evoking a vast range of sensations and emotions, communicating beyond the limitations of visual language and figurative representation.»
Image: Stefania Zorzi, Schmetterling (Butterfly), 2019, self-portrait, digital photography
Biography
Stefania Zorzi, born in Gavardo, Italy, in 1985, lives and works in Lower Austria. She graduated in Visual Arts from the LABA Academy of Fine Arts in Brescia and participated in the Erasmus program at the Facultad de Bellas Artes in Cuenca, Spain. Since 2008, her exhibition activity has spanned national and international venues across Europe, North, and South America. Her works are featured in museums and private collections throughout Europe and have been published in catalogues, magazines, and books in Austria, France, Italy, Serbia, and the USA. She is a member of several artistic associations, including grenzART, Kulturvernetzung NÖ, and Kunstraumarcade in Austria, and Centro Arte LuPier in Italy. She has also curated photographic exhibitions for the international website VASA. Her artistic practice encompasses photography (primarily self-portraits), video, installations, sculptures, and poetry. Stefania Zorzi’s works serve as windows into her inner world, exploring existential passages and intimate confessions, driven by a profound search for self, increasingly intertwining art and life. Through metaphors and symbols, Zorzi investigates the relationships between external influences (real, imaginary, or social) and emotions. Her research particularly focuses on the body, spaces, objects, memories, and relationships, and how they are interconnected both internally and externally. Identity, expressive communication, and transformation are central themes in her artistic inquiry.
