The childhood spent in Colombia, a strong and generous, explosive and violent land. The stimuli of an adoptive family, which impart to her a love of art and the expression of the body, dance, theatre, teaching her how to present herself and move in the world. The meticulousness inherited from her natural mother, a wonderful embroiderer, so wonderful that it is impossible to distinguish the front of her creations from the back. The shock and the rapture felt in the presence of pristine nature. The colours, smells, tastes and textures which arouse her emotions.
Tales and confused memories, nightmares and fantasies, are regenerated in creativity, and in a panic vision of reality, re-emerging in her works as a poetic inquiry centred on the human person, particularly the female, and on its memory, where food is a leitmotiv which appears, in its concrete and symbolic values, now in the foreground, now in the background.
Food is man in her story, and has a very specific value in the female world.
Woman is the first wet nurse, the cook of the household; lastly, woman is Eve, who proffers the fateful apple to Adam. Food herself in her intrinsic physiology, she is the most interesting and beautiful, fragile and despairing, complete and variegated subject, one that ultimately contains man as well. With her ability to feel deeply, woman feeds on presentiments, sensibilities and intuitions, to which she attributes great meanings.
Since the Nineties, when she received her first analogue Yashica as a gift, it has been non-stop photographing. Photographing and making videos, as a means of getting further and elsewhere.
A life punctuated by crucial encounters, by the figures of true mentors who have believed in her and encouraged her, enabling her finally to be what she is.
Her art, which aims at the sublime, is participation in the beautiful and in the good, but also in the sorrow which oppresses but does not crush, and from which a constant stream of vitality pours out. Through a rich symbology, it celebrates beauty and poetic despair, sublimating nostalgia linked with an exhaustion which is always opposed by resilience, in sensual celebration of life.
Her mantra is a line from the sixteenth-century poetess Gaspara Stampa: To live in fire and not to feel the pain.
text by Barbara Casalaspro
Her artworks have shown at various events, festivals and biennial: