The first time I encountered images of Romina Ressia's works, I thought they were paintings, but Romina Ressia is a photographer. It was the abstract dark backgrounds, the otherworldly air and appearance of the models, that made me think that I had discovered another realist painter, one that specialized in portraits. What is more, the images appeared as realistic depictions, but with the additional quality of that step back from reality that paintings have.

Even if these were paintings, though, they wouldn't be just portraits. They are peculiar, playful, somehow sarcastic, due to the anachronisms, the juxtapositions of elements of different eras. There are models dressed in period costumes holding or using modern-day props that do not even make sense narratively. Props such as an inflated bubble gum, a Donald Duck band-aid, a toy or a snack clash with the gravity displayed by the costume, the background and the expression of the models. Otherwise, an oxygen mask or a racket held in front of the face inspire a disconcerting feeling. In the series Renaissance Brushstrokes, part of the view is blocked by colorful brushstrokes. The model appears enclosed behind the brushstroke, as if, one could argue, she is trapped by colour, or by the act of painting.

The photographer persistently flirts with the representational painting tradition of the past, particularly that of the Renaissance, of the 16th and 17th centuries in the series New Vanitas, of Rococo in the series Portraits in the 18th century, even with that of the Middle Ages when she portrays her Madonnas using gold leaf on photograph, working, thus, in mixed media as well. There are many more art historical references. In New Chiaroscuro, the Portrait of a Ginger Girl appears Rembrandtesque and Hands could have been a painting by Caravaggio. The Ophelia series alludes to the theme of the homonymous painting by the Pre-Raphaelite artist Sir John Everett Millais and, elsewhere, Mona Lisa is referenced several times.

When someone browses through her pictures, though, and after a while begins to think that they have figured out what the artist is all about, they suddenly come across works that subvert this belief. There are some that picture solely objects, such as the ones in the series FISHES & FLOWERS, or others that are characterized by a completely different aesthetic, such as those in the series NOT ABOUT DEATH and What do you hIde?. Romina Ressia is a versatile and promising artist. In her work, the vast notions of art, death, identity, the artist, the past and everything in between are constantly contemplated and revisited.

These are Romina Ressia's answers to my standard questionnaire:

Who is your favorite artist?
I have a lot but to mention only two, I would say Da Vinci & Rembrandt.

Which is your favorite artwork?
In my list of favorites are Anatomy Lesson (Rembrandt), Self Portrait (Rembrandt), La Gioconda (Da Vinci), Las Meninas (Velazquez) & The Liberty leading the people (Delacroix), just to mention a few. I love contemporary art too.

Describe your art in three words. Current but also anachronic & humorous.

What inspires you?
Contemporary society.

Is beauty important in art? Not at all. Art is no more for the eyes but for the mind. It can be beautiful or not.

It is already obvious from her work, but is verified by her answers, that the artist is focused and knows what she wants. Focus is of the uttermost importance not only in art but in life as well. Talent is not enough for an artist. As Ms Ressia is both talented and focused, I am sure that there is plenty to see from her in the future.

Romina Ressia, Woman playing Tennis, Image by Romina Ressia http://www.rominaressiaph.com/5589165/