Jeremy Bianco
Year of birth: 1985
Where do you live: Vicenza, Italy
Your education: Bachelor’s Degree: Multimedia Design
Describe your art in three words: Elegant, Nostalgic, Cinematic
Your discipline: Oil painting
How did your transition from 3D animation and design to fine art painting impact your creative process and style?
As a 3D animator, my favorite part of the process was modeling, sculpting forms from a blank mesh of vertices and polygons. In hindsight, that may explain why I naturally gravitated toward a monochromatic palette in my paintings. It wasn’t a deliberate choice, but I see the connection now. The technical nature of modeling and rendering required an obsessive attention to detail, which naturally carried over into my painting. I approach my work with the same focus on precision, carefully refining edges, light, and texture to create depth and realism.
As for portraiture, I’ve never questioned or hesitated about it, it’s always been my focus. I think that stems from an appreciation for traditional sculpture, which is largely figurative. Portraits and figures have always fascinated and inspired me, whether in sculpture or painting.
Even before I studied multimedia design, I spent countless hours teaching myself Adobe Photoshop by creating my own movie and TV show posters for fun. That love for cinematic imagery and composition is something I carried into painting as well.
You’ve drawn inspiration from mid-20th-century advertising and cinema, particularly from the Mad Men era. How do you think those influences manifest in your current work, especially in your portrayal of beauty and glamour?
There was a lighthearted joy and optimism in the advertising of that era,everything was upbeat, charming. and had a sense of innocence. That’s a key part of what fascinates me about it. The way beauty and glamour were presented felt effortless, yet highly stylized.
In my work, I try to channel that same essence. There’s a deliberate elegance, a refined aesthetic that is still inviting and warm. I’m not just recreating the visuals of that time but tapping into the emotion and cultural mood that made it so compelling.
“Bubble Bath Girls” is a reimagining of a 1950 Life Magazine cover. What drew you to that specific image, and how does it reflect your exploration of femininity and cultural ideals?
That Life Magazine cover captured a kind of beauty and femininity that feels increasingly rare today. graceful, understated, yet undeniably glamorous. It represents a time when beauty standards, while idealized, were rooted in mystique and refinement rather than overt display.
By reinterpreting the image as a painting. I wanted to engage with that contrast, the way cultural ideals evolve over time, particularly in how beauty is presented and perceived.
You use a monochromatic palette in “Bubble Bath Girls.” What role does color play in your work, and why did you choose this specific approach for this piece?
Black and white naturally strips everything down to form, contrast, and composition. There’s something timeless about it, it feels immediate yet nostalgic.
For Bubble Bath Girls, I wanted to maintain that sense of vintage elegance while also giving it a contemporary edge. The lack of color allows the focus to remain on the expressions, the softness of the lighting, and the overall mood. It also makes the image feel like a memory, a moment suspended in time.
Jeremy Bianco | Bubble Bath Girls | 2025
In your recent work, you’ve focused on the intersection of vintage aesthetics and contemporary interpretations. How do you navigate the balance between preserving the nostalgia of the past and infusing modern perspectives into your art?
For me, it’s about honoring the past without being confined by it. I don’t want my work to feel like pure nostalgia or imitation.I want it to feel alive, relevant, and personal.
The key is in the reinterpretation. I take inspiration from classic imagery, but I bring my own perspective to it. Sometimes that means reimagining an old composition with a new subject, other times it’s about distilling the essence of a time period and translating it into something fresh.
Ultimately, I think that balance comes naturally. My influences are deeply rooted in mid-century aesthetics, but my perspective and style is contemporary.
Your work often captures the timeless beauty of iconic figures. How do you approach portraying figures like Audrey Hepburn or contemporary subjects in a way that honors their elegance while adding your unique artistic interpretation?
In the early stages of my painting journey. I developed my skills and refined my style by directly copying portraits of Audrey Hepburn and other starlets from that era. It was my way of honoring them.paying tribute to their beauty and presence while also potentially shining a light on some of the lesser-remembered actresses of the time. That process helped me find my artistic voice.
Now, my focus has shifted to creating original work, but I’m still deeply inspired by the imagery and material that shaped me. Just as some artists reimagine master paintings, I reimagine the visual culture that resonates with me. I did this with The Birth of Venus, reinterpreting Botticelli’s masterpiece through a contemporary lens, and I continue to do it with my work inspired by mid-century cinema and advertising. For example, I’m currently working on a piece inspired by Funny Face (1957), starring Audrey Hepburn and Fred Astaire. But rather than painting Audrey herself, I’ve created an imagined model as a homage to both the film and her iconic presence. There are subtle references woven into the piece that those familiar with the film will recognize, while for others, it might simply be an invitation to appreciate the aesthetics and mood I’m trying to capture.
Ultimately, my goal isn’t just to revisit the past but to recontextualize it bringing forward what still feels relevant, elegant, and evocative in a way that speaks to today’s audience.
What do you hope viewers take away from “Bubble Bath Girls”? Is there a specific message or feeling you want to evoke through this piece?
I mostly just want people to smile and relax when they look at it. There’s a softness, a warmth, and a beauty in it that feels effortless and inviting.
At the same time, I think it offers a contrast to today’s beauty and advertising standards. The women in Bubble Bath Girls are elegant and alluring, yet the image is completely modest and innocent. It’s a reminder that beauty doesn’t have to be overt or revealing to be captivating.
But beyond any message, it’s about the feeling. If someone sees it and simply appreciates the femininity. the grace, and the lightness of it all, then I think the painting has done its job.
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