In the captivating realms of Francesca Fini's artistic vision, the mundane intertwines with the fantastical, crafting narratives that transcend time and reality. Her collection, Paradise Lost, is a testament to her mastery of blending surrealism with poignant societal commentary. Through these works, Fini invites us into a world where the remnants of human legacy profoundly alter the course of nature and technology reshapes the fabric of human existence. This exploration delves into the inspiration and creative processes behind these profound artworks, offering an insight into Fini's unique ability to encapsulate complex themes within visually stunning and thought-provoking narratives.

Q: The Paradise Lost collection showcases a deep connection with poetic surrealism. Can you share the initial spark or moment that inspired this collection?

A: The conception of Paradise Lost stemmed from deep reflections on the afterlife of our current world and how it might appear to an entity not born of our experiences or corruptions. It imagines a future or an alternate reality where the absence of humanity speaks louder than our historical cacophony.

The specific catalyst was a vivid image that flickered in my mind during a twilight reverie. I imagined a fantastical creature, a blend of the known and the mysterious, discovering remnants of our civilization. This creature finds, not food, but a plastic bottle cap inside a larva it intended to eat. To this creature, unfamiliar with human waste, the cap is not garbage but a mysterious and sacred object. This marks the beginning of a surreal story.

The creature's fascination with the bottle cap ironically reflects our society's fixation on disposable items. In this creature's pristine world, the cap is more than trash; it's a symbol of a forgotten civilization's influence, lasting longer than its existence. The cap becomes both a magical and harmful relic, a Pandora's box in this nascent paradise.

This scene evolved into a broader allegory. The bottle cap symbolizes the gradual decay and entropy brought by human influence. The creature's awe is a metaphor for our collective disregard for nature's delicacy. Paradise Lost thus weaves these themes into a visual narrative, illustrating the impact of misunderstood remnants from our world on a pristine environment.

This project goes beyond the tale of a creature and a cap. It reflects on the enduring nature of our artifacts and how they reshape the landscapes of futures we'll never witness. Developing this idea was a journey through our shared psyche, exploring the legacies we leave behind and how they represent us when we're gone.



Q: Binary Blues intriguingly juxtaposes the futuristic theme of robotic control with visuals reminiscent of early cinema. What motivated this aesthetic choice, and what message or emotion did you hope to evoke in the viewer with this contrast?

A: In Binary Blues, combining old-world cinematic styles with a robot-dominated future was a purposeful decision. I wanted to contrast the flawed beauty of humanity's past with the cold efficiency of a future ruled by machines. The film's visual style, reminiscent of grainy, flickering old films, is a backdrop for a story set in a monotonous, machine-filled future.

The heart of the film's message lies in this contrast. By wrapping the exactness of robots in the cozy, nostalgic feel of vintage film, I aim to evoke a feeling of loss and longing for a time when humans were the main drivers of life's rhythm. The crackling film grain and the stark black-and-white imagery are more than nods to early cinema; they symbolize a time when human imperfections were part of our creativity.

Using these old-fashioned visual elements is meant to make viewers reflect. The film is like a sonnet mourning our growing dependence on robots, while also appreciating the beauty of past human achievements. Blending AI and 3D animation with the rustic look of the old film celebrates the tangible qualities of a pre-digital era that's now fading away.

Binary Blues aims to stir a mix of feelings in its audience—admiration for modern advancements and a yearning for the past. It serves as a reminder that in our rush towards a seamless future, we shouldn't forget our messy, human roots that have shaped our journey. The film is a visual exploration, questioning the cost of a convenient utopia and asking if humanity's essence can survive in a world dominated by machines.



Q: The artwork Paradise Lost is based on a recurring dream of yours. Dreams often contain symbols or themes that are deeply personal. How did you navigate translating such a personal experience into artistic expression?

A: Turning a deeply personal dream into the art of Paradise Lost was both challenging and enlightening. Dreams are a mix of our deepest thoughts, fears, and wishes, often without the clear storyline of our daily lives. They speak in a mysterious language that, when understood, can reveal broad truths through very personal stories.

In my recurring dream, the images of the fantastical creature and the plastic cap were clear and striking, but their meaning was hidden in the dream's mysterious nature. To turn this into art, I explored the symbolism. The plastic cap, a simple yet widespread sign of human impact, became a symbol of lost beginnings and futures that will never happen. It's an out-of-place artifact, showing both the brief insignificance and the lasting impact of humanity.

To truly capture the dream's essence, I let instinct lead the creative process. This meant letting the dream's changing and fluid nature guide the visual style. The dream didn't give up its secrets easily. I approached it like a meditation, focusing on the dream's sensory details and emotional depths, and letting these flow into my digital animation work.

The animation invites viewers into this personal yet unfamiliar world, encouraging them to find their own meanings in it. It's a call for self-reflection, to see wonder in the ordinary and confront the harsh truths we often ignore. This artistic translation doesn't dilute the personal nature of the dream; instead, it creates a shared experience, where individual feelings resonate with a collective understanding.

Translating this dream wasn't just about making something visually stunning. It was about starting a conversation with oneself and the audience. It's about facing the lost paradises within us and the moving beauty in recognizing and remembering them.

Q: Both artworks in this collection touch on societal shifts and transformations. How do you envision the role of art in commenting on, or even shaping, the trajectory of society?

A: In the contrast between Binary Blues and Paradise Lost, we see art as a powerful tool, almost like a visionary predicting changes in society. For me, art is more than just something to look at; it's a force that sparks conversations and shapes our thinking.

Creating Binary Blues was about stirring thoughts on the irony of relaxing in an increasingly automated world. The sepia tones of the film pay homage to simpler times, urging us to think about and question the direction technology is taking us. It invites viewers to reminisce about the past while considering the future we're building.

Paradise Lost, on the other hand, shows the innocent discovery of a creature encountering a remnant of human neglect for nature. The creature's interest in a plastic cap is a powerful symbol of the natural wonders we're losing to our own influence. It's a subtle, yet strong reminder of the paradise we risk losing, told through a fantastical narrative but deeply connected to our environmental reality.

My goal with these works is to wrap serious thoughts in accessible, engaging art. I see it as a conversation where my art is a starting point for broader discussions. Art should touch our hearts, stimulate our minds, and inspire society to move towards a future made with careful thought.

Art's real strength lies in its dual role: it reflects our world and also shows us what it could be. It's like a helpful friend who suggests without being pushy. My artworks are invitations for the viewer to join in a thought-provoking exchange, to enjoy the interaction, and to continue pondering even after the experience ends.

Q: Can you give us a glimpse into your creative process when conceptualizing and actualizing the films in this collection? Were there any unexpected turns or discoveries along the way?

A: Starting the projects Paradise Lost and Binary Blues felt like embarking on a great sea adventure. Each film began as a set of unclear ideas, like distant images at the edge of my mind, waiting to be discovered.

The development process was natural and almost dreamlike. For Paradise Lost, it began with the striking image of a larva and a bottle cap, symbolizing innocence and meeting the leftovers of an old world. This image, which came to me in a vivid dream, was the starting point for building a unique yet eerily familiar world.

In Binary Blues, the journey was more introspective. The main theme was the human experience in a world dominated by technology. Combining old cinematic styles with futuristic elements was an unplanned but fitting choice, emerging during my experimentation with various styles. It felt like the past was joining the conversation about our future, highlighting the repeating cycles of change.

Both films were shaped by happy accidents. In Paradise Lost, some animations developed in unexpected ways, leading to new storylines and character developments. Binary Blues had its own surprises, with AI-generated images sometimes taking eerie turns, influencing the story's direction. These moments of serendipity were crucial, guiding the projects in new and meaningful ways.

Making these films was more than just telling stories. It was about letting the narratives grow and change. This required a balance between guiding the projects and letting creativity lead the way.