SpazioA Pistoia, exhibition view, photo by Camilla Maria Santini, courtesy the artist.
The consequences of our past (both ancient and recent), the structure of society (with its complex regulation and infrastructures), the condition of one’s self in a contemporaneity defined by a globalized culture that express itself through products and avatars, all evoke in the artist visions of hypothetical landscapes and habitats: here overproduction, a major element of our “here and now”, merges with its own sources and with a weird population of prototypes (both coming from the wild and the domesticated realm), in an attempt to create environments devoid of hierarchies, species, sexuality and dominance.
MAXXI Roma, exhibition view, photo by Giorgio Benni, courtesy the artist.
metal, agricultural machines, cars, and bike parts. Photo Blaise Adilon. Courtesy the Artist and Centre d'art Saint-Fons, Lyon.
Most of her works investigate the possible steps a thing is destined to assume, forming installations where objects and sculptures present elements of duplicity: belonging to forms and designs known and repeated in our present day along with the evident manual workmanship that scourged them, modelled them, stripped them to the bone or petrified them. Both these characteristics struggle to emerge inside the single sculptures, which become incomplete, imperfect elements soiled from any point of view. These environments are the consequences of an exasperation of sculptural actions (manual and mechanical) and of the gestures that are a constant in our imaginary. In this saturated installations, the viewer’s bodies often become a part of the total view.
installation view “The milk of dreams” at the 59a Biennale di Venezia, photo by Andrea Rossetti, courtesy the artist and La Biennale di Venezia.
metal, mineral resin, quartz paint, wood, cm 210 x 70 x 55, courtesy the artist.
