Enea Seregni, aka EneArtworks, is a linocut artist living and working in Milan. His artworks draw inspiration from horror, fantasy, and science-fiction imagery. EneArtworks combines the printmaker’s passions in projects including fan-art, Gothic and macabre iconography, and nerdy culture.
“Many of my childhood memories are of me with a pencil in my hand, drawing everything my child mind could imagine, especially monsters and other oddities I was obsessed with” describes the artist. Thus, it was no surprise when Enea began his studies in art, and he graduated from the Academy of Fine Arts of Brera at the Visual Arts: Art Graphics department in 2011. It was whilst working on his thesis that concerned expressionism and themes of melancholy and pain, that Enea’s interest in these introspective and dark themes was ignited. During his studies at the Art Academy he first came into contact with printing techniques, and fell in love with woodcut and linocut. Ever since, he has been collaborating with private clients and publishing houses, as well as working on personal projects.
Today, Enea splits his time between his work and his passion as an illustrator and printer, participating in exhibitions, markets and trade fairs. His passion for art has always gone hand in hand with that of his love for horror, fantasy and science fiction themed motifs. It is precisely from their union that the EneArtworks: Linocut Prints and Creepy Things project took shape in 2017. This project followed two strands; the first focusing on illustration (such as a series of prints inspired by the stories of Edgar Allan Poe and H.P. Lovecraft) and Fan Art as a tribute to films, anime, and cult video games. The second strand, on the other hand, concerned macabre and occult iconography, partly drawing inspiration from medieval art, and partly adapting it to more modern subjects, experimenting with gold leaf and watercolour.
Once Enea has chosen the subject of his artwork, he starts by sketching it on paper as if it were a normal drawing. Subsequently, he inks everything by defining shadow and light as similar as possible to the final rendering of the print. He then transfers the design to the linoleum matrix using copy paper, finishes it, and begins the carving process. “Working with this technique is totally immersive and there’s little room for errors” states Enea. During the carving process, he often improvises by adding or removing elements to the composition, to the point that the final result is unlikely to be the same as the initially prepared drawing. Enea prints using a calcographic press, usually on 60% cotton paper or rice paper.
Enea’s style is constantly evolving and improving, after a forced break due to the Covid-19 emergency, he is looking forward to resuming participation in events.
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