Sofia Bianchini

Sofia, in your practice, digital imagery appears to operate less as a neutral technological tool and more as a conceptual field in which history, geography, and emotional memory converge. Considering your recurring interest in maps, labyrinths, and cultural traces, could you elaborate on how the digital surface becomes a kind of epistemological space, one in which visual fragments of nature, marble, and historical reference are reorganized into a new visual language that both reflects and questions the structures through which we navigate identity, territory, and collective memory?
Working with digital imagery has been part of my life for more than thirty years, first as a student, then as a graphic designer and later as an artist. For me, the digital medium has never been merely a technological tool; it is closer to a space of stratification, a living archive where fragments of experience, memory, and research can coexist and take form.