2015 Le Sirene del Bosco. Ink drawings, light and sound, varying dimensions. Festa di Cinema del Reale (Specchia, IT), 22-25 July 2015.

A series of ink drawings inspired by Maria Corti’s “Il Canto delle Sirene” (“The Mermaids’ Song”, 2001) and commissioned by international documentary film festival “Cinema del Reale” . The work was exhibited during the 2015 edition of the Festival in an underground oil mill, where I created an installation of suspended, enlarged prints (up to 3 meters), blue lights and sounds, evoking an underwater world of flying mermaids. Exhibitions: Festa di Cinema del Reale, 22-25 July 2015.

2015 L’Equilibrista – The Tightrope Walker. Ink on paper and gold thread, varying dimensions.

At the end of 2014 I felt like a tightrope walker, balancing and protecting my identity with as much dexterity I could through challenging times. I didn’t feel agile, but I found consolation in noticing that many women’s lives were precisely that: the ongoing performance of a balancing act. Sharp images emerged. I drew five self-portraits and assembled them in an installation: my body inked on paper interacted with gold thread. The struggle to pinpoint the right time to say yes or no. Learning that one can happily let go into a nurturing sexual relationship. The experience of explosive pleasure with no more fear.

2015 La Donna del Vento – The Woman of the Wind. Mixed media on pottery and unframed canvases, varying dimensions.

A month-long meditation on gender-based fears and the liberation from them, an artwork which is honest in both content and process: sitting on the rooftop of my Lecce studio, I meditated on my fears regarding identity, femininity and art-making, especially focusing on those connected with the gender-based violence which I experienced. As I meditated on a specific fear, I covered a piece of pottery with continuous handwriting, repeating over and over again a short sentence evoking that fear. It was hard. I cried and smoked cigarettes. By the time I covered the pottery I felt liberated from that fear and moved on to the next one. After many days I felt freed from burdens, embodied by the pottery, which represent also the house we are comfortable in, but that weighs us down preventing growth. I placed snail shells on the pottery, said goodbye to my old Self, and moved on, creating the upper part of the installation, a series of unframed, suspended canvases depicting subsequent states of freedom: from the lighthearted liberated Self to the condensation of identity that occurs when our truth emerges clear of fears and compensatory beliefs or behaviours.


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