インタビュー | マリーナ・デラモーレ | Schön! マガジン

full look. Talent’s Own

“Don’t be afraid to dive into the abyss — it’s where the magic hides,” says Marina Dellamore, the artist who creates worlds where sculpture transcends form and enters the realm of fantasy. Self-taught and instinct-driven, her practice blends surrealism, mysticism, and a deep connection to the feminine into bold, monumental works. Suns, eyes, and bodies become recurring motifs in her visual language, weaving dreamlike narratives that are as playful as they are profound. With influences drawn from cinema, music, and tarot, Dellamore’s creations invite audiences into parallel realities — spaces of curiosity, enchantment, and catharsis.

In conversation with Schön!, Dellamore reflects on her evolution, her inspirations, and the magic of transforming vision into matter.

full look. Talent’s Own
opposite
full look. Talent’s Own

How would you describe your artistic style, and how has it evolved over time?

I would describe my work as grotesque, maximalist, surreal, erotic, mystical, organic and naive. It hasn’t changed much but has become bigger and grander. Monumental. I’m creating new characters to interact with the old, but they all come from the same place, the same vision. I am growing and evolving as my characters evolve.

Can you walk us through your creative process from concept to finished piece?

My work is super instinctual. It’s messy and organic. When the vision is clear, the technique is fluid. Sculpture allows me to breathe my imagination into matter. I begin by sketching out ideas, and then it’s impulsive, and I suddenly have the fire to create. The idea takes over, and then I go on a journey with the character, and I work for long periods. I become a part of the work, and the work becomes a part of me.

How do you treat or reinforce papier-mâché to ensure durability?

I’m self-taught. I’m the opposite of academic. I learn by making mistakes, and I have to relearn every time. When I began, it was an impulse I had with cardboard and glue, very simple. Over the years, it’s evolved into a much more complex process involving many different materials. My own potion. Sweat and magic are my special tricks.

full look. Talent’s Own

Suns, eyes, and mouths appear frequently in your work — what is their significance to you?

My work is ornamental and romantic. My first muse is Mother Nature, a goddess. I’m deeply fascinated by her beauty and power. Like in music, there’s a resonance and a harmony. My characters interact; they come into existence in a fantastic universe, an alternate reality. They have their own frequency. When I was young, I was captivated by tarot. My aunt would often do readings for me, and so tarot was my first visual crush. As a little girl, I was captivated by the imagery and the magic. It was my introduction to the invisible. The sun, the moon, the eyes — they’ve become a part of my visual language.

How does the female form influence your sculptures?

I’m a woman. I’m a romantic. Naturally, I have a connection to my own body and my own feminine energy. It’s a difficult process for a woman to fully embrace her femininity. Through my work, I’m healing. There is a catharsis I have with my characters, and we become a part of each other’s lives. I feel their emotions, and I put my blood, sweat, and magic into every shape and curve, into every nipple and eyelash. My vision imbues a sense of ultra-romanticism — the sacred feminine and the mystical surrealism, embracing the life experiences, emotions, joys, and sorrows that I experience and pour into my work.

How do you convey dreamlike or emotional states through physical materials and forms?

I suppose I’m my own muse, and my emotions are my inspiration. These emotions transform into the characters. Once I have the vision and the idea, I become fully consumed by it and by them. We live together and we become a part of one another. It’s quite an intense process. It’s very physical and draining. Goggles and power tools replace linen and velvet garments.

full look. Talent’s Own
opposite
full look. Talent’s Own

How does interactivity or audience participation influence your approach to sculptural art?

I like to create dreamlike and otherworldly interactive spaces and objects, like a magic mirror that leads you to an alternate reality. A bed is not just a bed in my world — a bed is a place to wake up, just as the sun rises in a field. The bed becomes a character in your fairytale. I create amusement and emotion through big shapes. That’s the best joy. Without the audience, I don’t exist as an artist. I want to create an enchantment to get people to travel with curiosity into my parallel universe and maybe find out something new about themselves.

Do you see these artworks as part of your artistic identity?

These sculptures are like my children. Of course, I wouldn’t mind selling any one of my children for the right price. I’m that kind of mom, but I do give birth to them. They come from my imagination, and sometimes it takes many months to bring them into existence. I let them out into the world, and maybe someone gets a small glimpse of me — or maybe not.

Who or what are your biggest artistic influences?

It took some time for me to find my medium — a lot of research and contemplation. A long time ago, I had a blog with a friend called ‘Cosmic Machine’ that talked about art, music, movies, craft, and all the bizarre. I spent every day collecting imagery, but my first influence may be in cinema. All the visually impactful Eastern European cinema, Italian, Asian, and so on. The list could be so long, and I don’t want to name-drop, but my first cinema crush was probably Kenneth Anger. I have so many — I want to name them all — Jodorowsky and Vera Chytilová. Russian fairy tales from the 70’s. I could spend hours naming all the artists that have moved my heart; artists who all have a strong visual identity, the freaks, and the mystics.

full look. Talent’s Own

full look. Talent’s Own

Do other art forms — music, film, literature — influence your sculptures?

Not as an academic, I didn’t study classical art forms. I had to study my own way. Music is really important in my creative process. Fashion, cinema, and all forms of expression and ways of living, I find, are truly inspiring. I try to always remain curious.

What challenges have you faced as a sculptor, and how did you overcome them?

Many… Real sculptors, as I like to call them — people who’ve studied — would be horrified. My technique is scandalous. Every time I create, I’m going through new challenges and relearning from past mistakes. More than once, I’ve made a massive sculpture that can’t fit through the door of my tiny atelier. I’ve learned a lot about patience and believing in my vision. Facing my fears of failure and overcoming my doubts.

Have your sculptures become more figurative, abstract, or conceptual over time?

They’ve always been somehow figurative. It’s just that the colours and the vision have become grander, stronger, and more powerful.

What formats would you love to explore next — large installations, collaborations, mixed media?

I’m a big dreamer who believes in my own delusions. I have a secret dream of making monumental works, like maybe a dreamlike palace or phantasmagorical garden or an enchanted hotel. I’d like to work with fashion. I would love to do films or set design or make an opera. I’d love to put my creatures into motion.

full look. Talent’s Own
opposite
full look. Talent’s Own

Do you have any dream locations or public spaces where you’d love to install a sculpture?

I don’t know. Of course, I’d love a public fountain in a big city like Rome or Paris. A public park would be nice. It could be in Europe, in South America, or in Asia. To be honest, it could be anywhere. I’d love to have my work accessible to many. But I’ve always been inspired by the story of Facteur Cheval — he was just a normal French postman in the 19th century. He never travelled and had no connection to art or the art world, but he was inspired by the postcards he delivered — postcards of temples in Cambodia and Palaces in India, postcards from all over the world. He began collecting rocks from the mountainside, and he spent 33 years building the most beautiful temple for his daughter in his small village in France. It’s inspiring to find unknown curiosities in the most unexpected places.

How do you balance personal vision with audience or gallery expectations?

My work is very instinctive. I do what my heart dictates. So far, I’ve been really lucky to have people who trust my vision and allow me to be free and produce work that’s true to myself.

What advice would you give to artists experimenting with sculpture for the first time?

Don’t wait for everything to be perfect to create. Don’t wait for all the right conditions to come together. Don’t think you’re not capable. It’s important not to be afraid to make mistakes. In fact, you can be very surprised by the engineering of creativity and imagination. Very good recipes have been created through mistakes, so always keep a curious heart and believe in your vision and your passion. Be obsessed.

When I started, I had no money, no space, but I had a vision. I bought some cardboard and paper, and then my journey began. Be ready to open the Pandora’s box of your own depth and turmoil, and emotions. When you create, it’s a deep connection to your soul, the dark and the beauty. Don’t be afraid to dive into the abyss — it’s where the magic hides.

What do you hope people remember or feel after seeing your sculptural work in person?

I want to move them. I want them to feel joy, excitement, and surprise. Glitter in the eyes and in the heart. One day, I hope to inspire others the way I was inspired by my first loves. It would be my biggest reward.

full look. Talent’s Own

photography. Ben Duggan
talent. Marina Dellamore
interview. Kelsey Barnes

full look. Talent’s Own

“Don’t be afraid to dive into the abyss — it’s where the magic hides,” says Marina Dellamore, the artist who creates worlds where sculpture transcends form and enters the realm of fantasy. Self-taught and instinct-driven, her practice blends surrealism, mysticism, and a deep connection to the feminine into bold, monumental works. Suns, eyes, and bodies become recurring motifs in her visual language, weaving dreamlike narratives that are as playful as they are profound. With influences drawn from cinema, music, and tarot, Dellamore’s creations invite audiences into parallel realities — spaces of curiosity, enchantment, and catharsis.

In conversation with Schön!, Dellamore reflects on her evolution, her inspirations, and the magic of transforming vision into matter.

full look. Talent’s Own
opposite
full look. Talent’s Own

How would you describe your artistic style, and how has it evolved over time?

I would describe my work as grotesque, maximalist, surreal, erotic, mystical, organic and naive. It hasn’t changed much but has become bigger and grander. Monumental. I’m creating new characters to interact with the old, but they all come from the same place, the same vision. I am growing and evolving as my characters evolve.

Can you walk us through your creative process from concept to finished piece?

My work is super instinctual. It’s messy and organic. When the vision is clear, the technique is fluid. Sculpture allows me to breathe my imagination into matter. I begin by sketching out ideas, and then it’s impulsive, and I suddenly have the fire to create. The idea takes over, and then I go on a journey with the character, and I work for long periods. I become a part of the work, and the work becomes a part of me.

How do you treat or reinforce papier-mâché to ensure durability?

I’m self-taught. I’m the opposite of academic. I learn by making mistakes, and I have to relearn every time. When I began, it was an impulse I had with cardboard and glue, very simple. Over the years, it’s evolved into a much more complex process involving many different materials. My own potion. Sweat and magic are my special tricks.

full look. Talent’s Own

Suns, eyes, and mouths appear frequently in your work — what is their significance to you?

My work is ornamental and romantic. My first muse is Mother Nature, a goddess. I’m deeply fascinated by her beauty and power. Like in music, there’s a resonance and a harmony. My characters interact; they come into existence in a fantastic universe, an alternate reality. They have their own frequency. When I was young, I was captivated by tarot. My aunt would often do readings for me, and so tarot was my first visual crush. As a little girl, I was captivated by the imagery and the magic. It was my introduction to the invisible. The sun, the moon, the eyes — they’ve become a part of my visual language.

How does the female form influence your sculptures?

I’m a woman. I’m a romantic. Naturally, I have a connection to my own body and my own feminine energy. It’s a difficult process for a woman to fully embrace her femininity. Through my work, I’m healing. There is a catharsis I have with my characters, and we become a part of each other’s lives. I feel their emotions, and I put my blood, sweat, and magic into every shape and curve, into every nipple and eyelash. My vision imbues a sense of ultra-romanticism — the sacred feminine and the mystical surrealism, embracing the life experiences, emotions, joys, and sorrows that I experience and pour into my work.

How do you convey dreamlike or emotional states through physical materials and forms?

I suppose I’m my own muse, and my emotions are my inspiration. These emotions transform into the characters. Once I have the vision and the idea, I become fully consumed by it and by them. We live together and we become a part of one another. It’s quite an intense process. It’s very physical and draining. Goggles and power tools replace linen and velvet garments.

full look. Talent’s Own
opposite
full look. Talent’s Own

How does interactivity or audience participation influence your approach to sculptural art?

I like to create dreamlike and otherworldly interactive spaces and objects, like a magic mirror that leads you to an alternate reality. A bed is not just a bed in my world — a bed is a place to wake up, just as the sun rises in a field. The bed becomes a character in your fairytale. I create amusement and emotion through big shapes. That’s the best joy. Without the audience, I don’t exist as an artist. I want to create an enchantment to get people to travel with curiosity into my parallel universe and maybe find out something new about themselves.

Do you see these artworks as part of your artistic identity?

These sculptures are like my children. Of course, I wouldn’t mind selling any one of my children for the right price. I’m that kind of mom, but I do give birth to them. They come from my imagination, and sometimes it takes many months to bring them into existence. I let them out into the world, and maybe someone gets a small glimpse of me — or maybe not.

Who or what are your biggest artistic influences?

It took some time for me to find my medium — a lot of research and contemplation. A long time ago, I had a blog with a friend called ‘Cosmic Machine’ that talked about art, music, movies, craft, and all the bizarre. I spent every day collecting imagery, but my first influence may be in cinema. All the visually impactful Eastern European cinema, Italian, Asian, and so on. The list could be so long, and I don’t want to name-drop, but my first cinema crush was probably Kenneth Anger. I have so many — I want to name them all — Jodorowsky and Vera Chytilová. Russian fairy tales from the 70’s. I could spend hours naming all the artists that have moved my heart; artists who all have a strong visual identity, the freaks, and the mystics.

full look. Talent’s Own

full look. Talent’s Own

Do other art forms — music, film, literature — influence your sculptures?

Not as an academic, I didn’t study classical art forms. I had to study my own way. Music is really important in my creative process. Fashion, cinema, and all forms of expression and ways of living, I find, are truly inspiring. I try to always remain curious.

What challenges have you faced as a sculptor, and how did you overcome them?

Many… Real sculptors, as I like to call them — people who’ve studied — would be horrified. My technique is scandalous. Every time I create, I’m going through new challenges and relearning from past mistakes. More than once, I’ve made a massive sculpture that can’t fit through the door of my tiny atelier. I’ve learned a lot about patience and believing in my vision. Facing my fears of failure and overcoming my doubts.

Have your sculptures become more figurative, abstract, or conceptual over time?

They’ve always been somehow figurative. It’s just that the colours and the vision have become grander, stronger, and more powerful.

What formats would you love to explore next — large installations, collaborations, mixed media?

I’m a big dreamer who believes in my own delusions. I have a secret dream of making monumental works, like maybe a dreamlike palace or phantasmagorical garden or an enchanted hotel. I’d like to work with fashion. I would love to do films or set design or make an opera. I’d love to put my creatures into motion.

full look. Talent’s Own
opposite
full look. Talent’s Own

Do you have any dream locations or public spaces where you’d love to install a sculpture?

I don’t know. Of course, I’d love a public fountain in a big city like Rome or Paris. A public park would be nice. It could be in Europe, in South America, or in Asia. To be honest, it could be anywhere. I’d love to have my work accessible to many. But I’ve always been inspired by the story of Facteur Cheval — he was just a normal French postman in the 19th century. He never travelled and had no connection to art or the art world, but he was inspired by the postcards he delivered — postcards of temples in Cambodia and Palaces in India, postcards from all over the world. He began collecting rocks from the mountainside, and he spent 33 years building the most beautiful temple for his daughter in his small village in France. It’s inspiring to find unknown curiosities in the most unexpected places.

How do you balance personal vision with audience or gallery expectations?

My work is very instinctive. I do what my heart dictates. So far, I’ve been really lucky to have people who trust my vision and allow me to be free and produce work that’s true to myself.

What advice would you give to artists experimenting with sculpture for the first time?

Don’t wait for everything to be perfect to create. Don’t wait for all the right conditions to come together. Don’t think you’re not capable. It’s important not to be afraid to make mistakes. In fact, you can be very surprised by the engineering of creativity and imagination. Very good recipes have been created through mistakes, so always keep a curious heart and believe in your vision and your passion. Be obsessed.

When I started, I had no money, no space, but I had a vision. I bought some cardboard and paper, and then my journey began. Be ready to open the Pandora’s box of your own depth and turmoil, and emotions. When you create, it’s a deep connection to your soul, the dark and the beauty. Don’t be afraid to dive into the abyss — it’s where the magic hides.

What do you hope people remember or feel after seeing your sculptural work in person?

I want to move them. I want them to feel joy, excitement, and surprise. Glitter in the eyes and in the heart. One day, I hope to inspire others the way I was inspired by my first loves. It would be my biggest reward.

full look. Talent’s Own

photography. Ben Duggan
talent. Marina Dellamore
interview. Kelsey Barnes