“The Sex Lego” was made in response to the sexual mobility of the human body; looking at bodies through the lens of dildos and prosthetics, questioning what is the body and what is not? If we see sex as an innocent act of playing, we can perceive our body or dildos as anatomical or artificial toys. If we see sex as an innocent act of playing, wouldn’t people who make love in a non-heterosexual/unconventional way be more acceptable in this world? The sex logo gives people the opportunity to think of sex and experience body through a playful and innocent perspective.


“Sex Lego” 2020, plaster, wood, silicone.

Fragmentada 

She Said No

Buttuettes highlights the relationship of the male gaze with an idealized part of the woman’s body: the butt. The idealization and portrait of the ideal body crafted by the ancient Greeks with a twist of sexism is the inspiration for these altered photographs. 

The butt pictures were extracted from before and after photos of women who went through the BBL (Brazilian Butt Lift) procedure – the ones used are the before shots. 

How did a simple part of a body become such a symbol for sensuality, desire and status? 

Buttuettes are the real or original ones, but with a touch of color emphasizing the beauty in every women’s body.

Buttuetes (series of 10)

This work it meant to make you reflect about rape, the rape culture and how this affects the story and psyche of women throughout history.

Take our power, we make flowers

Instinctive is a series of drawings that portraits, through the use of violent animals how aggressiveness and abuse, misplaced as instinct or natural, affect women.

Abuse is an ambiguous topic. Most often it is not a random stranger in the middle of a dark street, but yet someone you know, someone you care for. Is this relationship with the aggressor, previous to the violence itself that makes the definition of the event for the victim not black and white, but yet grey. 

It is these feelings, the bond or connection and maybe a previous desire for that person that makes the violent event not as clear as it can be. 

The grey in the situation is perhaps the arousal that comes with the memory of a painful event, that in different circumstances would be a happy one.


Instinctive (Series - 1/8)

Chaotic splashes of paint and ink across the canvas. Gravity used to guide the free flowing paint and ink around the textured canvas. The inspiration behind this piece is the occurrence of rage and anger as a result of trauma. My goal with this piece was to show the power, complexity, darkness and shame that accompany anger or rage outbursts. When emotions build up for too long they explode, and at times uncontrollably . The tumultuousness and unpredictability of this powerful emotion is expressed on the canvas through similar splatters, fevering strokes and chaotic splashes of paint.

RAGE

Pouring medium along with heavy gloss gels mixed with black and white acrylic paint. This technique allowed the paint to take on a sticky wet looking consistency where the paint appears to be stuck to the canvas while being pulled away by the viewer. This explores the "sticky thoughts" experienced in obsessive compulsive disorder where rumination and unwanted intrusive thought get "stuck" in the mind.

Sticky Thoughts

Deep blues and contrasting whites with chaotic strokes and flicks of acrylic paint and pouring medium. Inspired by the force and depth of the ocean.

Drowning

Chaotic strokes of blue, white and black paints along with various acrylic mediums used to increase textures and boldness. Introspective exploration of a mind in turmoil with racing and chaotic thoughts.

Turmoil

Acrylic black, white and grey paint mixed with pouring mediums to increase viscosity of the paints and allow the colors to bleed together. This piece explores the feeling of detachment from reality where the dark and light contrasts appear to be separating and pulling apart. The vague strokes of white and grey into the deep black portion of the canvas imitate figures and objects that are barely in focus therefore mimicking the experience of depersonalization/derealization and the difficulty of connecting to the world around you.

Detached 

Black and white splattered acrylic paint over three white canvases. This piece is an introspective look on trauma; the exploding pattern of paint from the center canvas pouring onto the others mimic that of the darkness and intensity of traumatic events and the devastating affects they have on the psyche. The darkness covers most aspects of the canvases, tainting the blank white canvas with sticky black paint similar to how trauma affects all aspects of life, memory and thoughts.

DEVASTATE

Acrylic and various acrylic mediums to increase texture and depth of the work. Mixed dark blues mimic the depths and force of the ocean and how it parallels the human emotions experienced with depression.

Undertow

This work is part of the Series "Traces". 
The driving force behind the “Traces” series is the need to work with a “neutral” work surface and reduced materials and to deliberately lay the traces.
The intention is to give more meaning to an individual trace or to use existing traces to create new ones.

Wrapped in

The work is from the Series ‘Plants’ where I want to show the in-between and not necessarily the plant itself. 

There is so much we do not see but is still there and has an impact on everything that surrounds it. 


Series "Plants" - Untitled

Untitled

What remains of a poplar -project focuses on the forest (trees / plant matter / fungi) through my personal experience to explore its transformation processes, to understand it as an indispensable reality, as a unique ecosystem that has become increasingly rare and precious, and above all as a tangible dimension of time.

For this project my artistic practice, working in situ, in various forests of France, and indoor (based on casts, imprints, observation drawings and photos), responds to the need to represent fragments of reality to perpetuate its memory in a time when forest is undergoing disastrous and irreversible transformations.
I started this project in November 2019.

What remains of a poplar - project 

This work is part of the main project "What remains of a poplar" in which I develop a reflection on the theme of nature, a subject that I have always investigated, but with a particular emphasis on the forest, on this complex and vulnerable ecosystem made up of a multitude of interconnected species through interactions and cycles that they ensure its survival. 
A unique ecosystem that has become increasingly rare and precious, and above all  a tangible dimension of time.

In Fungi I highlight the symbiotic association of certain fungi to its partner tree through a complex exchange of nutrients and information.


FUNGI - extract Agaricus bisporus

The cartography of this marble fragment looks like the figuration of the marble quarry from which it originates. In the same way,  represents in a certain mean the cartography of its path, from the origins of its formation in the heart of the Apuan Alps in Carrara, until the moment that I found it.

Heart of marble Heart of Carrara - Cartography of a fragment - is part of the main project "Cartographies of close distances" in which I am interested in the reconstruction of geographical places by creating the cartography of territories based on a specific link with them: origin, memory, emotions, experience, desire, objects, matters.

Heart of marble Heart of Carrara - Cartography of a fragment

This installation of drawings is part of the main project Matter and Body.
The five drawings in this work represent casts made on various rocky walls of a geological site in France.

In  Matter_and_Body  I investigate matter, its physicality in space, as well as space understood as matter. A geological matter, anthropic or natural, and our intimate relationship to it whether it is contemplative or invasive.
Our passage from and into space and our experience with it is represented by the figuration of the body (always autobiographical).


Corpus_Petram

In Ephemeral / Atemporal I explore the slowed down process of the decomposition of leaves and flowers. In reality, this process has several stages. By means of photography, I have selected one of these moments and reproduced various images through the lead mine drawing and the monotype technique. Ephemeral, precisely because it depicts a passing moment in the cycle of nature in a fixed image; Atemporal to immortalize and enhance the beauty and fragility of the cycle of nature and the very meaning of life.

Ephemeral - Atemporal (n. I, II, III, V )

This installation - called Layers of time in a rock - is part of the main project If I were rock (2019 - 2021).
This work consists of twelve layers which are the result of twelve different casts on rock.

Geological matter carries within itself mutations and stratifications, natural or artificial, tangent testimony of the passage of time; matter that will continue to transform over the years or disappear.

For this project  If I were rock  I was interested in the surface of the material that constitutes a geological landscape (in particular the rocks of the Massif Central in France). By detecting the surface of some rocks, I have developed several constituent layers of a fragment of them to reconstruct a cycle in order to archive the memory, a kind of contemporary archeology.

Layers of time in a rock


This work consists of twelve layers which are the result of twelve different casts on a rock.

Geological matter carries within itself mutations and stratifications, natural or artificial, tangent testimony of the passage of time; matter that will continue to transform over the years or disappear.

For this project  If I were rock  I was interested in the surface of the material that constitutes a geological landscape (in particular the rocks of the Massif Central in France). By detecting the surface of some rocks, I have developed several constituent layers of a fragment of them to reconstruct a cycle in order to archive the memory, a kind of contemporary archeology.



If I were rock (layer n. III of XII)

The film "Honeydoodoo" captures a lonely woman's aimless day in a Dongbei (东北, North-eastern China) village house. During the day, time quietly freezes in between still moments. When the night falls, digital media such as TV and smartphone seduce her into cinematic lucid dreaming. Impregnated by her dreams, aborted as she wakes, she is abandoned in sobriety with familiar shapes/touches from another untraceable reality.  


During the lockdown, I have become more and more nostalgic for home. I long for Dongbei (“东北”, the Northeastern region of China), the black soil I grew up on. Historically Dongbei was the heavy industrial centre of China till the 90s when the economic focus had shifted to the south. Dongbei was left behind with unemployed populations and industrial pollution. Dongbei was left behind by China,  full of disappointment but still filled with the passion of the optimistic Dongbei people. Films such as “Piano in a Factory(钢的琴)” captured this frustrating but passionate atmosphere very precisely. 

Dongbei is a cold place, so the Dongbei people have to be warm to each other. Dongbei people also use bright colours to make themselves feel warm. Houses in the countryside are always decorated with saturated colours; covered by posters of babies, fishes and fortune gods, celebrities’ faces from random packaging and Chairman Mao. There is no sense of negative space, all walls are covered in bright colours. As if one spot was left empty, a hole would grow on it and freeze everyone to death in the winter. There is no sense of consistent style, Winnie-the-pooh could be pasted right on top of a serious door god poster, anything that’s colourful and auspicious can be part of the DIY wallpaper. I spent my childhood in one of these Dongbei village houses with my grandparents.

My visual habit is very Dongbei Influenced. When I paint I can’t stand negative space, I can’t help to use big bright red and green. My paintings are often so chaotic like many unrelated paintings all together, but that’s very Dongbei wall decor, very visually warm to me. I think that’s why I sometimes have trouble understanding western contemporary art. Aspects of western contemporary art believe in purpose and necessity; which often gives viewers something to focus and something to imagine. But I have a habit of believing in the necessity in the unnecessaries, seeing the unnecessaries as extra warmth. This habit affects my decision making. Sometimes, when I make a sculpture I can’t help to throw a few more elements in to create a scene because subconsciously I don’t want the sculpture to feel too cold and alone.  

During the quarantine, I started seeking comfort by making some clay figures and small sculptures that remind me of China, which was later generated into my video work “Honeydoodoo”. The First structure I made was the bamboo stick house. I envisioned it to be a loner Kungfu hero’s desert hut, like the main character in the movie “Ashes of time (东邪西毒）”. Then I slowly realized this kind of delicate bamboo styled house or objects do not comfort my homesickness, because they do not represent the part of China I knew and grew up in. Bamboo house and kungfu hero are the fantasied versions of China, it is not the reality I grew up in. I wanted to make objects from my home. I start recalling my memories with my Laoye (grandfather,)). Laoye’s house is where I spent the best time of my childhood. And despite all the drastic changes in China, in Dongbei, in the past 20 years, Laoye’s house remains the same. During my adventures abroad, my city changed drastically, my parents moved to apartments in the city, all my other relatives moved too. Laoye’s house is the last testimony to my childhood memories and the last familiar home. I enjoyed recreating Laoye’s house and objects. I had some photographs, but I didn’t need any to remember, because every object in Laoye’s house has been there forever, it seems like nothing ever breaks or everything is frozen by time in that house, even the most flimsy neon green plastic water scooper has been there for 15 years. In the making, I used air-dried clay, delivery paper boxes and other found materials to build up the set. I see these materials symbolising the quarantine time, their unique materiality functions in circumstances when no studio and mass materials were available. These materials are also very humble, like Laoye, like Dongbei, like home.  


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