Born 1981. After the first year at the Academy of Fine Arts of Florence, in Italy, she studied Painting with Luciano Fabro and Alberto Garutti at Brera Academy of Fine Arts in Milan - graduating with first class honours 2005 Painting Degree Vecchio Ordinamento (four years BA+MA), Painting Professorship Alberto Garutti, Referring Professor Pierluigi Buglioni Artistic Anatomy Chair, Project Graduation Thesis title “Santiago Cirugeda, Martin Rœiz de Azœa ed altri processi corporei nell’urbanitˆ contemporanea “Santiago Cirugeda, Martin Rœiz de Azœa and other body processes in contemporary urbanity/city, Recent researches about the dematerialization of the art object during the Twentieth Century” - and Performance Art with Marina Abramovic at the Braunschweig School of Arts, in Germany. After two years MA in "Multimedia Arts of Cinema and Video" at School of New Technologies of Brera, in Milan, she won a scholarship for "Calcographic Printmaking and Original Art Printing" Annual Course at the prestigious 'Il Bisonte - International School of Graphic Art' in Florence, Italy. Since 2010, she collaborates as artist, printmaker and printer with Giorgio Upiglio in Milano; since 2011, with Jesse/Jäger Kunst Radierung Werkstatt in Berlin, Germany. Live in Berlin, works in Berlin and Milan.
During my first years' activities, I investigated bodies movement, bound behaviors, masses, voluntary critical choice: I provisionally keep on working on those theme as well as on my contemporaries' denial of the critical choice. I am deeply tied to the manual skill. Original graphic art allows me to connectthe so called “film pittorico” element (printmaking/painting) with the “movingimages” experience(video/animation). I am trying to understand the "statute" of the image - however it might be one - and of the Power. I seriously considers the "I prefer not to" hypothesis assumed in Herman Melville's Bartleby. I started considering the State as think-tank the first time a came here in Germany to train my body with Marina Abramovic. “State” is a political organization, a general or specific situation and the art print at a certain point during the printmaking process. Collecting groups of art prints states and repeating them combining printmaking and video animation will allow me to deepen the repetition of certain kind of mistakes occurring in the human history of public organization.
Three concepts are important for me: immaginario liberato – imaginary liberated (if we can still deal with imaginary in terms of freedom and how this freedom has affected our ability to concrete dreams and expectation in everyday practical structures); rappresentazione – representation (if this representation is still possible in the representative democracy); che cosa immaginare – what to imagine (how and in which way it is pertinent to talk about images when doing art is utopia). Fundamental lessons come from last years' activity of certain artistic groups: it is possible to operate in the contemporary art panorama without being part of the art system and its priests. This typical art dreamer's attitude of such groups ignites the (situationist) outburst of those habits and rules which subsist the perfect economic deal: the maximum profit within the minimum time. As long as I perform this process too, it will set me free from being one young financial speculator of the last crusade of creative economic assassins. It will help one non-productive author focus on the dynamics ruling the contemporary society, leaving Beauty behind, which people comfort with.
On a surface vision and sign distribute inevitably distances but “what comes first” and “what comes next” are not space subjects but time or Power subjects: in order to describe these 2 phenomenons, process and context are necessary. The paper, privileged material of Hand-Made Original Graphic Art, freezes the momentum and, like photography, it is a misunderstanding. Hints, parabolas (geometrical), variations of scale, regulations of organized representation, attempts of graphic democracy* and counterbalance, two-dimensional making, breaking off the image hierarchic organization about foreground and background planes: these topics have been the effort of translating graphically Santiago Cirugeda's “recetas urbanas”, the spanish architect who designs home domestic units and urban thoughts on the edge between legality and illegality.
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