Melancholy is an emotion that many of us will experience throughout our life times. It is a feeling that hangs heavily in the air carried by the winds of depression, sorrow and pensiveness. It can consume the mind in terrible ways. But what if melancholy could be soft? What if it could be beautiful? What if it was almost, comforting? Welcome to ‘Onirica’, a dreamlike place where Agnes Cecile has chosen to explore the concept of melancholy in a way that is soft on the eyes and soothing to the soul.
Italian artist Silvia Pelissero, popularly known online under her artist name Agnes Cecile, is a fine artist who specialises in watercolour and acrylic. Born in Rome, Agnes would take an interest in art at an early age and would go on to attend a fine arts high school where she would learn how to express herself and her ideas through visual art.
Thanks to social media, Agnes has accumulated a large online following which continues to grow alongside her. More recently, Agnes exhibited her latest solo exhibition ‘Onirica’ at Victoria Olt Gallery. ‘Onirica’, Italian for ‘dreamlike’, invited viewers to take a dreamscape path through a selection of sweet melancholic paintings. Continue reading to learn more about ‘Onirica’ in this exclusive interview with Agnes Cecile.
Interview with Agnes Cecile
Your exhibition ‘Onirica’ is currently on show at Victoria Olt Gallery which is so exciting! How are you feeling now that this exhibition is out in the world?
Seeing the pieces come together in ‘Onirica’ feels like a beautiful dream realized. There’s a quiet joy in knowing that my introspective works are resonating with others.
‘Onirica’ is all about a dreamlike world of melancholic paintings, can you tell me a bit about what inspired this concept and how it evolved into a full exhibition?
The concept of ‘Onirica’ was born from my fascination with the dreamlike states of the human psyche, especially those tinged with melancholy. It’s a theme that has always been present in my artistic vision, growing with my art over many years, appearing sporadically. Over time, my vision matured, creating a narrative that weaves through each painting. In this exhibition, I hope to have had the opportunity to form a cohesive and immersive experience for the viewer, bringing these paintings together and allowing them to interact as part of a single and cohesive discourse.
What do you hope visitors to ‘Onirica’ will take away with them after viewing the exhibition?
I hope visitors feel a sense of introspection and emotional resonance, experiencing the beauty in the quieter, darker moments of our emotional landscapes. I want them to feel drawn to a piece, to stop and see it as a mirror of themselves, finding emotions that resonate within them. I feel the value of sharing my art when I achieve this connection, when a complete stranger experiences the same emotion I felt, it unites us all.
The concept of melancholy brings forth imagery of darkness, depression, death, etc. to my mind but this exhibition portrays this subject in a much softer way that feels almost soothing to behold. Is ‘Onirica’ a physical manifestation of how you visualise melancholy?
Yes, ‘Onirica’ reflects my vision of melancholy as a suspended state of sadness where one can navigate reality without being overwhelmed. It’s a subtle, poetic presence offering solace and reflection, captured in a soothing, contemplative way. It’s a precise balance that I try to reflect in my paintings, contrasting soft, relaxing colors like muted pinks with deep, dense shadows. I blend the transparent techniques of watercolor with the opacity and hardness of acrylic. I seek a suspended balance between these contrasting states, as if placing calm and pain in perfect harmony.
Floral motifs are a common theme throughout this exhibition. What meaning do these motifs hold in the context to ‘Onirica’?
Floral motifs symbolise the delicate balance between fragility and resilience, representing the ephemeral nature of dreams and emotions. They remind us that there is a softness and inherent beauty that can bloom from our inner depths.
I adore all of the pieces within ‘Onirica’ but I especially love ‘Lunar Rabbits’, ‘White Roses’ and ‘Void Lover’! Can you tell me a bit about these pieces and what they represent within the exhibition?
‘Lunar Rabbits’ is inspired by the Chinese Lunar New Year in the Year of the Rabbit. It portrays the rabbit’s nocturnal, playful, and mysterious nature. The blue floral design on the girl’s body, reminiscent of Chinese porcelain, symbolizes her fragility. This piece reflects themes of dark playfulness balanced with delicate fragility.
‘White Roses’ depicts a girl gazing at the viewer with imploring yet serious eyes, her chest pierced by thorny white rose stems. These roses represent unwanted gifts that wound and are endured. This painting symbolizes the pain of unasked-for burdens.
‘Void Lover’ captures a small figure drawn to enormous hands emerging from the darkness, calling her to them. This painting delves into the embrace of emptiness, finding a strange yet comforting intimacy in the void.
Do you have any favourite pieces from this collection? If so, which ones and why?
‘In a Whirlwind of Emotions’ portrays a girl twisted in a spiral suspended in a void. I believe that I was able to figuratively depict anxiety and loss of control, a condition many can relate to; it’s a direct metaphor.
‘The Lives of Others’ depicts a black sea from which white masks emerge, each with a flower blooming from their foreheads. In the foreground, a figure observes the scene, representing the self watching others flourish, not realizing she too is blooming, with a flower on her forehead, even richer and more beautiful. I love it because it is very intimate, fragile, and resonates with everyone. It reminds us all to recognize our own growth and not be afraid.
What has been the most rewarding part of creating ‘Onirica’ and subsequently what has been the most challenging part of it?
The most rewarding part has been the opportunity to assemble various works that had interconnected themes, creating a narrative through the paintings. Many pieces, created over different years, exhibited together, revealed the underlying thread that connected them all, forming a story to be read through hints. The challenging part was perhaps dedicating the right amount of time in these recent chaotic years filled with commitments. We postponed this exhibition a couple of times, always with the idea of making it and building the poetics step by step. In hindsight, taking more time to define it might have been beneficial.
Looking forward, what can our readers expect to see from you in the near future? Do you have any big plans or exciting projects on the horizon after ‘Onirica’?
After ‘Onirica’, I have a couple of exciting events before the year ends. My next event is a retreat in France with a group of 15 artists, where we will paint together amidst the French landscapes. I also have another project that I can’t divulge too much about, but it involves a unique opportunity to create something truly special as a painter.
Beyond that, I will focus on setting up my new studio in Italy, where I’ll create my upcoming works, finding new inspirations. The biggest goal is always to find the freedom to express myself, without self-imposed constraints, with a sincere and ever-evolving language.
Agnes Cecile Social Media Accounts
Website | Instagram | Eyes on the Wall
