Federico Bebber, born in 1974 in Udine, Italy, and now based in Venice, has been practicing art since 1998, creating surreal and sensual digital portraits through photo manipulation. His work showed at a Curioos exhibit at SoHo Arthouse in New York City, January 2014, with signed prints available through Curioos. Find him online at eiko.biz.
How did you get started in the arts?
I’m a self-taught creative. I started a long time ago, doing my first tricks on a Commodore Amiga, graduating to more serious work toward the end of the 1990s. I’ve always been interested in everything that is interactive, so my familiarity with computers helped me a lot, as does a not-so-easy life. It’s not in the background, in my humble opinion, it’s more in your soul. (Okay, you need skills, but first you need something to tell.)
Why do you create this sort of work?
Probably to avoid a psychologist. I just need it: I feel better when I create something and usually I do it when I’m in a bad mood. There’s a lot of myself in my creations. I don’t know the artistic value, but they trace my life perfectly.
What are some of your influences?
Hans Rudolf Giger, Dave McKean, and horror B-movies, especially the works of Lucio Fulci.
Do you draw ideas from fiction?
No, real life is enough. Real horror is outside, and horror is a serious thing.
Can you describe the attitude in Italy toward the kind of dark art you create?
I really don’t know. It’s really not an Italic attitude. I have more fans from other countries. Italy is a wonderful place but really hard to decipher.
Do you have a life philosophy?
Still trying to find the right one. Actually, I’m trying the mantra, “stop thinking.”
If you weren’t doing this, what would you be doing for a career?
A comic actor. I’m so funny! People love me.
What are you working on right now?
Trying to go back to the roots of my work, so horror things again: blood, more blood, sex, and darkness. Kinda happy about the first draft. Also trying interactive and videos. I don’t know if something interesting will come out of it.
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