With its soft foam interior and its outer latex skin, Juno has the structure of a non-human doll. 
However, with its imposing proportions, such to pair those of a person, Juno can't be easily tossed around, but it dominates the scene.
Just like some camouflage fish, the skin appears to some like some sort of rock or mineral, contrasting sharply with its soft nature, while to others appears like bruised skin.
In spite of its voluptuous shapes, the figure can give off slightly unsettling alien vibes. Juno is an ambiguous object, that can speak about flesh and sensuality without referencing the human body.

The piece has been conceived in relation to the human figure and in an exhibition context might require the use of a performer, acting as a plinth.
The foam inner core has been obtained from an old mattress and sculpted using a sharp blade. It feels soft yet quite firm to the touch and it's completely elastic.  
The latex skin is hand made and it has been created on a mold first and then transferred onto the foam body so that it doesn't adhere perfectly to it and it can be moved or pinched like a piece of garment. 
The choice of latex seemed the most appropriate to me because it feels organic without being leather and it's a heavily charged material, immediately hinting some sort of sadomasochistic imaginery that well paired with the power dynamics going on between the object and the plinth\performer as well. 
Additionally, I got to work with a material that I had never used before and that I massively enjoyed.
 
The original inspiration for the work came from the sensations I felt touching a leather stool, a sort of haptic madeleine from which the whole discourse about body, sensuality, depersonalization and power sparked.
Another important idea about the use of materials came from the industry, in particular from the way balloons are mass produced dipping a mold into liquid latex, that I ended up adapting and replicating for the creation of the skin.  


Juno

With its soft foam interior and its outer latex skin, Juno has the structure of a non-human doll. 
However, with its imposing proportions, such to pair those of a person, Juno can't be easily tossed around, but it dominates the scene.
Just like some camouflage fish, the skin appears to some like some sort of rock or mineral, contrasting sharply with its soft nature, while to others appears like bruised skin.
In spite of its voluptuous shapes, the figure can give off slightly unsettling alien vibes. Juno is an ambiguous object, that can speak about flesh and sensuality without referencing the human body.

The piece has been conceived in relation to the human figure and in an exhibition context might require the use of a performer, acting as a plinth.
The foam inner core has been obtained from an old mattress and sculpted using a sharp blade. It feels soft yet quite firm to the touch and it's completely elastic.  
The latex skin is hand made and it has been created on a mold first and then transferred onto the foam body so that it doesn't adhere perfectly to it and it can be moved or pinched like a piece of garment. 
The choice of latex seemed the most appropriate to me because it feels organic without being leather and it's a heavily charged material, immediately hinting some sort of sadomasochistic imaginery that well paired with the power dynamics going on between the object and the plinth\performer as well. 
Additionally, I got to work with a material that I had never used before and that I massively enjoyed.
 
The original inspiration for the work came from the sensations I felt touching a leather stool, a sort of haptic madeleine from which the whole discourse about body, sensuality, depersonalization and power sparked.
Another important idea about the use of materials came from the industry, in particular from the way balloons are mass produced dipping a mold into liquid latex, that I ended up adapting and replicating for the creation of the skin.  

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Chiara Mancini

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