In Conversation with Studio Art Professor Catherine Biocca
Catherine Biocca was born in Rome, Italy, where she earned her B.A. in Political Science from LUISS University in 2006. She studied fine arts at the Düsseldorf Art Academy, where she obtained a B.A. in 2010 and an M.A. in 2013. Between 2014 and 2015, Professor Biocca was a resident at the Postgraduate program “Rijksakademie van beeldende Kunsten” in Amsterdam. Her work was showcased in several international exhibitions, and most recently she was awarded the ALA Art Prize.
You originally studied political science before undertaking graduate studies in fine arts. What motivated this change, and how did your undergraduate studies support your development as an artist?
My original motivation was to study something that would interest me beyond the formal aspects or techniques that a fine arts academy could offer, and this is the reason why I chose to study Political Science, through which I was able to study history, philosophy, and economics. All these aspects are highly interrelated and interwoven, as well as rich in contradictions and tensions about our human condition. My main research focus lies in miscommunication and problems associated with power, inequality, and human conflict. The background knowledge introduced by political science topics allowed me to foster further aspects related to my research.
You’ve been teaching at John Cabot University since 2020 and have developed courses in Animation and The Artist Book. Can you tell us more about these courses and how your interdisciplinary practice impacts your teaching?
During my years at JCU, I started to introduce more of my own artistic practice through my Animation and The Artist Book courses. Moreover, I developed a 4D artistic practice course, which deals specifically with moving dimensions and includes sound, video, and animation within studio practice. I felt the urgency to introduce more of the interactive and digital aspects offered by our art and design studio, considering the current contemporary art panorama.
John Cabot University just launched a new Major in Art and Design. Can you tell us about the program and what makes it unique?
The Art and Design major is definitely exciting news for all of us in the department, but I am sure it will be a great resource for the whole university as well. John Cabot is a liberal arts university that gives its students a truly holistic experience. In this sense, I am positive that an Art and Design Major will enrich students’ future career possibilities, as well as greatly expand their overall learning horizon.
Can you walk us through your creative process? Are there any contemporary artists or movements that inspire you?
Usually, I start with a late night or early morning “lightning idea,” something that strikes me, typically in a flash during a very relaxing moment. From there, I work through several experimental practices and trial-and-error approaches until I find the perfect formal translation for my project. This may take from a couple of days to various months. It is a fun and draining process, but I always fully enjoy it!
As for contemporary artists, surely there are always inspiring examples to relate to and get feedback from. But apart from contemporary art, I am actually more fascinated by extraordinary life experiences, which can be found in literature, subculture, history, or contemporary trends all around the globe. These are the insights that truly inspire me and my work.
Tell us about your upcoming projects, such as the show at Eugenia Delfini Gallery in Rome.
For the show at Eugenia Delfini Gallery, I worked on a project called Disposable Wipes Story, which is visually represented by two sculptures of a dog and a woman “shifting” to another dimension in time and space. Their dialogue about care and emotional interrelation represents the core of the project.
I am also very excited to start working on another show coming up in the spring in Berlin at the PSM Gallery, and another one in London in Fall 2025 at greengrassi Gallery.
Do you see the future of contemporary art going more and more toward digitality, or do you think that physicality will always play an irreplaceable role?
My practice is extremely versatile, ranging from projections to video, from animation to drawings, from sculptural elements to audio installations and painting. So, I believe everyone should use whatever tool or technology they like or feel attracted to. With this being said, the result of the interaction between artist and tool always generates an output, which is more or less tangible. Art has the intrinsic need for a material value, so I don’t think it will ever be replaced by a solely digital format. This is also dictated by the urge to physically create, which is exquisite and exclusive to us human beings: the tools may change and vary, but we will always be the makers, even if we start to delegate more and more parts of the process. The initial spark is always our responsibility.
