Naples born illustrator Mario Damiano's work is rooted in rigorous pictoral training focused on depth, colour and anatomy. His whimsical and playful approach belies a seriousness to the topics he often tackles, making the work at once inviting to the eye and thought provoking in the way all great illustration aspires. Here Mario talks to us about his love of research, the importance of flexibility when tackling a brief and the need to stay calm when inspiration fails to emerge as fast as one would hope.
(Lead image above) School is a battlefield. Illustration for an article in the online magazine "Napoli Monitor".
Could you define the approach or philosophy of your work Mario?
All my work is the result of research and a design approach. I am of the opinion that the illustrator's job is to ensure a service that responds well to the client's brief and needs. For this reason, since every project is unique and different from all others, one cannot think of applying an absolute method for every project. Applying the same modus operandi for every project is unthinkable because it would risk sterilizing the creative process right from the image conception stage.
It is important for me to develop a moldable and not rigid, ductile and not stubborn visual language that allows me to achieve the imposed communicative goal without altering the recognizability of my work. That's what an author's style is: it doesn't depend only on the stroke or a particular way of drawing a character's eyes or lips; style refers to the intrinsic work and thought behind the image...and that's what excites me every time.
(Above) Because we tell our secrets to strangers.
'[an author's style] doesn't depend only on the stroke or a particular way of drawing a character's eyes or lips; style refers to the intrinsic work and thought behind the image...and that's what excites me every time.'
Which piece of work or project have you learned the most from?
It is difficult to choose one job in particular; all have marked growth in me. I have worked on projects where I learned a lot about how to interact with the client, in others I learned how to best handle a tight deadline, and in still others I learned how to recognize mistakes and find the strength to change the sheet and start over.
For example, recently an architectural firm called me to do a series of drawings for rooms (rooms and corridors) in a pediatric pavilion. It was a very complicated and at the same time formative experience because I had never worked on such large formats designed to cover hundreds of meters of wall. The real challenge was to come up with images that would keep hospitalized children of different ages company.
How important is research to your work and why does it matter?
Fundamental; also because I hate to repeat the usual shapes letting the automatisms of my hand guide me. Experimentation for me always happens, sometimes with amazement, even during the making of a final board.
I have always liked to try new tools or new methods to build an image; different types of papers, oil or water paints, rollers, brushes or pastels of various kinds. Research also means being able to appreciate and carefully observe the work of other illustrators: of authors of the same age, professionals more experienced than me, or the masters of the past. Even references from different art (music, dance or film) can stimulate research. And why not biology or botany, for example?
In short, doing research is so important. It always poses new challenges for me to improve and to get closer and closer to an idea of perfection.
Which illustrator alive or dead do you most admire and why?
There are times when you admire another illustrator's work so much that you are thunderstruck by it for long periods of time. It is a special feeling when you are struck by the works of an author you did not know. You feel that you know him, that you are connected to him; when that happens you are enveloped by new stimulation and so much enthusiasm.
The list of illustrators I admire most is long, but there are authors who have imposed themselves in my life like tornadoes. Among them, three names, without thinking too much about it: Ben Shahn, Edmond Baudoin and Franco Matticchio.
What is one part of your working process that you do well, something you could improve and something you wish you never had to do again?
I think one thing I do well is to not lose patience if I don't get an idea for an illustration. It often happens to be uninspired, but sooner or later the right insight comes; it doesn't do much good to despair. On the subject I recommend an enlightening book, “The First Sentence is Always the Hardest” by Wisława Szymborska published by Terre di Mezzo editore, 2019.
The aspect to improve is related to speed. Sometimes it is necessary when I work for newspapers that give me a few hours to make an illustration. In these cases being too meticulous does not help. What never to do? Forget to wash the brushes!
(Above) Iranian women cut their hair to protest the death of Mahsa Amini.
Who would be your ideal client to work for and why?
I like to translate what is happening in the world into images, the most complex topics, those that separate public opinions. That is why I like to work for newspapers and magazines that are interested in social issues. I see paper products as the ideal environment for publishing my work. I am very attached to paper, even in the practical, but I do not despise digital dissemination at all.
(Above) Portrait of Federico Fellini for Beneficial Shock Issue 9
What do you think defines ‘good illustration’?
The illustrator senses when he has made a good illustration. In my case, throughout the creative process I often ask myself whether or not I am doing a good job. Have I chosen the right image? Have I drawn it well? Have I chosen the right colors to communicate the message well? I believe that quality illustration is that which adds value to a text or theme, taking the viewer beyond didactic understanding.
(Above) Don’t treat love or leisure like a job.
What actor/actress would play you in a film about your life and what would the name of that film be?
This is a very funny one! I don't know who would show up for casting but I would look for an actor like Michele Riondino. If the production company is willing to invest enough money to shoot it would be nice to set the film in the places I have visited so far, the ones that have inspired my art the most. The film would be called: Sketchbook to Travel.
(Above) London, is the day of Brexit: the United Kingdom at midnight says goodbye to the EU.
What film do you recommend to others most often and why?
I consider myself a big movie buff, and loved movies are many. I have never paid attention to whether there are films I recommend more often than others. Certainly among the ones I have seen recently I recommend Jonathan Glazer's The Zone of Interest, Aki Kaurismäki's Fallen Leaves, and Jia Zhangke's A Touch of Sin. Three absolute masters.
