CLOROPHILLA

When Ludovica Basso (aka Clorophilla) talks about her art, she does so with a naturalness that seems to need no definition, but which tells of a profound and authentic path. It is therefore not surprising that her name, ‘Clorophilla’, is the first hint of a bond that is rooted in the plant and natural world, the same that we see expressed in her illustrations and art.

Her projects range from fashion to art, from illustration to murals and collages. But the real creative drive, which permeates every moment of her day, is the creative process, a moment of pure introspection and connection with herself. Ludovica is an artist who does not define herself in a limiting way. She does not just feel like an illustrator, but an all-round creative, capable of exploring, mixing and transforming her art into ever new forms. Her vision is never static, but constantly evolving, just like her creative process.

Your stage name, Clorophilla, immediately evokes nature. How did this choice come about and what relationship do you have with the natural world in your art?

Clorophilla is a name I remember from middle school when I did stencils. Initially it was Sibyl, then for a reason I don’t remember it turned into Clorophilla. It was a very random process, but over time I really felt it was mine. Although it has no real meaning attached to it, it immediately evokes the plant world and nature. I live by the sea most of the time, and my contact with nature is almost daily, especially in Liguria. Taking a lunch break by the sea or a walk on the beach are moments that recharge my batteries and allow me to be more creative. I can say that nature for me is a kind of guided meditation, which stimulates my mind and my inspiration.

Your stroke is delicate but evocative, almost dreamy. How did you develop your style? Were there any artists or movements that particularly influenced you?

I have never attended art schools or specific studies for drawing, so I think this has allowed my style to remain very authentic and personal. I have always drawn naturally, from a very young age, without thinking too much about it. My family has always had a strong connection with the art world, and this has definitely stimulated me. As for artists, I am very inspired by Matisse and Picasso, certainly Cocteau, whom I love for their sharp lines and their approach to form. But the surrealists also fascinate me, especially Leonora Carrington.

What was your educational background and how did you start working as an illustrator? Was there a key moment that helped you make a name for yourself?

After high school I studied art history and photography and during that time I started doing street markets, customising clothes with drawings and illustrations. Gradually I started to receive feedback, and this prompted me to focus more on illustration. I started working on commissions, and when I realised that this was the right path, I no longer had any doubts. The moment that allowed me to make a name for myself was definitely when I started collaborating with companies and brands, incorporating my unique style into their proposals.’

Your illustrations seem to tell stories suspended between reality and imagination. What inspires you most when creating a new work?

Nature is one of the main sources of inspiration, but also my travels – particularly to India and Morocco – and my personal experience. My dreams, myths and the dream world are sources of great inspiration for me.

Dreams, in particular, play a key role: for two years now, I have been writing down my dreams so that I can remember them and translate them into drawings. Myths, such as the Iliad or the Odyssey, feed my imagination and help me tell stories that are suspended between the real and the dreamlike.

When you start an illustration, where do you start from? Do you have a creative ritual or do you follow the inspiration of the moment?

To create I need to make space, both physically and mentally. I always start by tidying up my desk and putting on the right music. Creating the right atmosphere allows me to open myself up to the new project. Ideas come when I am in a space of openness, where I can let my creativity flow without forcing it. My process is very instinctive, I try not to think too much, but instead I focus on listening.

What are your favourite tools to work with? Are you more attached to the analogue or digital dimension?

I use digital for commercial work because it is practical and fast. However, I am very attached to freehand drawing, oil painting and collage, particularly during my travels. Collage allows me to have fun and give vent to my more creative side, even if it involves walking around with tons of paper and scissors.

Are there themes or subjects that recur frequently in your work?

The themes I deal with are very much related to the female figure. I started drawing to share what I carried inside, and the figure of the woman has always been a representation of universal values for me. Dreams, myths, and popular culture are other recurring sources in my work. But most of all I love to share my discoveries, what I feel intimately: and if even one person is inspired by it, that is a great achievement for me. Through my illustrations I try to convey beauty and tranquility. I want my art to inspire others, to be a tool for reflection and connection with something bigger, like nature.

How did the idea of creating a tarot deck illustrated by you come about? What was the creative process behind this project?

The idea of creating a tarot deck came about after years of reflection. I have always felt attracted to the esoteric world, and the figure of Jodorowsky was a great source of inspiration. I decided to make a deck of major arcana only, focusing on the symbolism and aesthetics that characterise me. Each card was created naturally, almost instinctively, without forcing.

You have collaborated with different brands, publishers and realities. Is there a collaboration that has particularly marked you or changed the way you work?

Every collaboration is unique and brings with it new challenges and opportunities. One of the collaborations that particularly marked me was the one with the brand that took me to Grasse to fresco an artist’s chapel, just like Matisse and Cocteau did. It was a project that made me reflect on how art can be a tool for meditation and connection with nature.

Is there a project you dream of realising in the future? An area in which you would like to experiment more?

I would like to create more and more fashion collections, combining my illustration work with the creation of one-off pieces. I have already started to produce mini collections, and I think the future may lead me to experiment more in this area. Lately I have been working a lot as a consultant and organising retreats to help people rediscover a connection with their creativity, the one we had as children and then kind of locked away in a drawer. I really enjoy it because I experience it as a valuable exchange between me and the participants.

Casa A Crêuza, in the Saracen village of Verezzi (Liguria), is an artist’s residence. The mini-suite, in a historic Verezzina house, is completely decorated by Clorophilla and over time has hosted many artists and writers in search of calm and peace to devote to their artistic projects.

Casa A Crêuza is a special space, suspended between art, nature and inspiration. How did this project come about and what does it represent for you?

Casa A Crêuza started out as a place of hospitality, but over time it has become much more than that. It has evolved with me, becoming a space of conviviality, where people can retreat without isolating themselves, but find inspiration to realise their projects.