4000 plasters, cardboard, mercurochrome, paper
87 x 71 x 88 cm
Four thousand patches cover the cardboard walls of a small house painted with mercurochrome. During two months of work, the repetition of the gesture took on the cadence, the discipline and the rhythm of a ritual. The dressing applied to the surface is the sign of orderly attention, a tangible and visible taking care. The mimetic illusion takes the chromatic tones of the epidermis. The presence of the wound is evidenced by the attempt itself to cover and hide it.
human hair, glass, iron hairpins
A braided crown takes shape from the hair left on the street by unknown and known people, gathered over three years. Forty hairpins block the composition making a broken nest. A glass bell protects the hair mass and some hairpins emerge from the glass, with an allusion to the religious sphere of cribs and relics.
I wish to investigate the forms of ambivalence contained in the concept of abandonment, understood both as an act of leaving forever and a total entrustment to the other.
doormat and coconut fibres
A coconut fibre composition is placed at the middle of an inverted doormat. The triangular shape, a symbol of the female sex from the Paleolithic, is built through the manual operation of threads extraction using a crochet hook.
Starting from the analysis of gender issues, in WELCOME I tried to explore the thin line between involvement and non-involvement in power dynamics.
chair, wooden spindle, human hair, brush, nails, buckles, linen sheets
OMISSIS is an installation created between 2017 and 2018, which takes shape from the reuse of worn-out objects, found in habitual places and loaded with all the attachments they are invested with.
OMISSIS is the abbreviation of the Latin formula ceteris omissis meaning that "things" considered unnecessary have been omitted.
The intent is to ask ourselves about what we can and cannot believe in, making way for the contradictions hidden in the boundless territory of history and memory.