Romina Bassu
With my feminist art, I turn fragility into a superpower
«In my works, I depict the effects of patriarchal culture on women’s psyche: from alienation to existential emptiness»
There are echoes of Ingmar Bergman’s films, especially Persona, as well as atmospheres reminiscent of Giorgio Morandi’s still lifes, in the female portraits of Romina Bassu. The Roman artist takes a path that seems understated at first glance – her young women appear almost ethereal – to deliver a powerful message. Through watercolors and acrylics on canvas, this forty-two-year-old artist, who has chosen to put down roots in the Italian capital after years spent living in Berlin, Seville, and London, challenges stereotypes and invites us to deeply reflect on the condition of women. In her paintings, the protagonists lose their features and gazes, becoming witnesses to a collective experience and symbols of a universal condition that involves everyone. This journey unfolds through a pared-down style, suspended atmospheres, and desaturated colors that seem to belong to another era, another time. Despite her gentle gaze and delicate manner, Romina is a warrior painter who explores the psychology behind a phenomenon that goes far beyond mere visual impact, delving into a culture that continues to reduce the female body to a mere object of consumption. We meet the artist before the opening of Arte Fiera, the Bolognese fair dedicated to modern and contemporary art, which takes place from February 7 to 9. Her paintings will be exhibited at the booth of Studio Sales by Norberto Ruggeri in Rome.
Who are the women depicted in your paintings?
Romina Bassu
«They are women captured in moments of vulnerability, revealing their inner turmoil, trapped between high heels, impeccable hairstyles, and the weight of expectations. I explore the perpetual conflict between reality and the ideals imposed on them»
Why do they appear hollow… almost devoid of a soul?
Romina Bassu
«My aim is to convey the impact of a profoundly misogynistic patriarchal culture on the female psyche, highlighting how it translates into alienation and a sense of existential emptiness. The characters inhabiting my scenarios are often caught in emotional instability, assuming unnatural poses and behaviors stemming from the effort to conform to oppressive models of conduct. The absence of a gaze, a recurring element in my works, amplifies the sense of stagnation and self-sabotage, emphasizing disconnection from the body»
A question you must have been asked a thousand times: why are men never present in your work?
Romina Bassu
«Although I have recently painted a few male figures, the female figure undoubtedly dominates most of my canvases. I find the female universe resonates with me more profoundly. Being a woman, I can better understand its nuances and portray them authentically. The intertwining of collective identity and personal experience naturally gives rise to an intimate representation»
Can you tell us how your paintings come to life?
Romina Bassu
«My painting process begins with a photographic preparation phase. Most of the images are pre-designed and then interpreted by the models in the studio, often discussed with them to gain valuable input. This exchange is crucial to my creative process, as it allows my experience to align with theirs, creating a deep connection»
The imagery you depict doesn’t seem to belong to our time but rather to the 1950s. Is that so? If yes, why did you choose this era to convey your message?
Romina Bassu
«Currently, my works inhabit a timeless dimension, difficult to place in a specific historical period. However, for many years, my research was fueled by archival material, vintage magazines, old film posters, and family photographs. The 1950s fascinated me because it reflected a world foreshadowing today’s social dynamics. The women of that era embodied aesthetic codes still deeply rooted in collective memory. I sought to deconstruct the image of the ‘trophy wife,’ a symbol of femininity tied to blonde hair and an ideal of perfection. My reflection, laced with sarcasm (now less evident), transformed into a sort of contemporary dystopia»
In a past interview, you stated that your work aligns with feminist thought, where feminism is understood as an inclusive and open perspective. Can you elaborate?
Romina Bassu :
«My artistic and personal sensibilities align with the values of feminism, particularly the one we are currently immersed in: Fourth-Wave Feminism, or Intersectional Feminism. The word ‘intersectionality’ is the key to opening a movement that, until a few decades ago, included only specific categories. Today, more than ever, it is important to validate these different issues related to discrimination and acknowledge privilege, inviting those who hold it—men at the top of the list—to actively participate in the discussion, overcoming a binary system that is thankfully being strongly challenged. In my work, I try to capture the condition where people, often women, have been objectified by socially imposed norms yet attempt to maintain their identity by laying bare their fragilities. This practice, which may culturally seem feminine, is actually universal»
Your work is also an introspective experience. Can a woman become the mirror of another woman? Would you find the same empathy with a man?
Romina Bassu
«Undoubtedly, the introspective component is a focal point in my works, and identifying with another woman may come more naturally. However, with the male models I’ve portrayed, a strong sense of empathy was also established. In those cases, though, I preferred to leave them the space to let their vulnerability emerge, ensuring that the strength of their experience and story was preserved, offering a shared representation»
Do you think the female body in art has taken on new meanings or expanded those already explored in the past?
Romina Bassu
«In the past, the female body in art was primarily represented as an object of desire and idealization. Today, it is no longer a passive figure but becomes an active subject expressing identity and self-determination. Contemporary art addresses themes already explored in the ’60s and ’70s but elevates them to a more complex and interdisciplinary level, reflecting the transformations of a globalized and profoundly changed society. The hybridization between body and technology, decolonization, and the transcendence of gender dichotomies are just some examples of how art continues to question and redefine the boundaries of the body»
What do you consider the still-untapped potential of your work, and how do you intend to develop it?
Romina Bassu
«In my art, I depict female bodies that are deactivated and disconnected. I like to think that these characters interrupt their consumerist function, ceasing to generate pleasure, compliance, and productivity in response to the ‘male gaze.’ They become celibate machines that stop functioning, entering an ephemeral dimension of existence. I would like to reactivate these bodies, opening a new phase in my work. Expressing anger could be a valid starting point, but I don’t yet have a clear vision of how to shape this new corporeal dimension»
Which artwork moves you the most?
Romina Bassu
«Madre, by Joaquín Sorolla»
And in which home would you never want your paintings to end up?
Romina Bassu
«I hope my works never end up in places where their content is overlooked or misunderstood»
A woman you admire today?
Romina Bassu
«There are many women I admire; it’s hard to name just one. Probably those I most intimately respect are part of my daily life»
Let me get personal: your last WhatsApp message??
Romina Bassu
«I could have lied and said, ‘Goodnight.’ The truth is, the last message was an image of Marge and Homer Simpson walking on the beach with Pincelina, the lobster on a leash—an inside joke.»
Plans for 2025?
Romina Bassu
«Beyond Arte Fiera in Bologna, I will participate in a group exhibition in London in May and the Enter Art Fair in Copenhagen. At the same time, I’m working on a project focused on the theme of hysteria»
Interview: Germano D’Acquisto
Photos: Ludovica Arcero
