I grew up in an artistic environment and have always cultivated the practice of drawing. My education continued with classical studies, and at university, I chose to study theatre and dance. In particular, I feel a deep connection to Pina Bausch’s Tanztheater.The 1983 documentary Un jour Pina a demandé, directed by Chantal Akerman and dedicated to the German choreographer, helped define some key guidelines in my artistic practice. Bausch used gesture not only as a choreographic technique, but as a way to express memories, desires, fears, and human relationships. My artistic process stems from the need to explore inner, physical, organic, and emotional worlds, and to translate them into poetic, formal, and synthetic visions—almost like an imaginary infographic to play with and reflect on, in order to gain greater self-awareness in relation to the world around us: starting from the singular “I” to reach a collective “we.” I’m interested in storytelling and the power of imagination, which I develop through themes related to the body—both in its anatomical and emotional dimensions. How can we visually represent what we have inside us? How can we visually narrate the absence of emotions or the flow of vital energy? What worlds pass through us? Can what moves through us as individual bodies find resonance in a collective body? These are some of the questions that spark my reflections. Form and line are elements that accompany “Emotional Landscapes” and “Anatomical Landscapes”, the two areas of my research, and where key focal points emerge. I don’t use one particular technique, but rather various techniques that serve what I want to express: engraving, printmaking, drawing, painting, photography, and red thread stitching. I studied graphic arts and printmaking with Maria Pina Bentivenga and Elisabetta Diamanti and have attended various workshops, including those focused on photography.
Areas of interest: Visual Art, Art Printmaking (engraving, print) – drawing – painting – photography, Dance, video performance
Why are you a part of “Magic Carpets”: I received a proposal from Latitudo Project after a studio visit as a local resident, and I accepted it. The project is very interesting for the development of my artistic work, as well as for the opportunity to engage with other contexts and artists.
“Magic Carpets” project
The project for 2025 is in progress
More updates coming soon
Past projects
ardito desìo, march 2024
Type: Photography, printmaking, painting, and sound
The exhibition Ardito Desìo was born from the encounter between Ombretta Gamberale and Futura Tittaferrante through the act of walking, a practice that lies at the boundary between performance and political action. Through walking, each artist has found her own field of exploration, both focused on the relationship between body and space, and on how space transforms the body. Their meeting deepens around a shared theme that connects them: the mountain and its material essence. Futura experienced the mountain physically, she crossed it, explored it, touched it. Ombretta perceived the presence of stone and mountain sediment within her own body, as a visual outcome of emotion. Along two parallel paths, one delves into matter from within, through the lived sensations of her body, tracing movements shaped by crumbling, cavities, marks, and shifts in temperature. The other moves through the matter that envelops her body, adapting to the mountain’s morphology and climbing its rock with her gaze, tracing shapes, slopes, and human imprints.
Their approaches unfold like a dialogue between a geologist and an explorer, advancing in small steps, through layered encounters and comparisons. They highlight harmonies and fractures through torn paper and printmaking. They seek points of rupture through details and juxtapositions.
They lose their sense of orientation but remain anchored to matter and to a precise mark. The exhibition was accompanied by a limited-edition publication printed in Risograph.
Corpi resistenti (Resilient Bodies), sett 2022 – Residency in Rio nell’Elba
Type: Workshop | Body Expression | Drawing | Interviews
Developed during a residency on the island of Rio nell’Elba, this project explored the relationship between the body and resilience in challenging circumstances. It unfolded along two parallel paths: one focused on interviews with some local residents about the perception of the body in unfavorable situations, and the other on a workshop where I combined body practices with drawing. From the interviews, I created my own drawings, while the workshop produced drawings made by the participants.
Below are some insights that emerged from the interviews. Here are two examples: Giuseppe Laudisia, architect – puppeteer: “I do figure theatre, so I am present on stage, and my body becomes split. Yes, I split. I speak to the puppet, but I am also the puppet. And even though I am one person, the children perceive me as two.” Aulo, former miner:
“In the mine, you’re in constant danger; you can’t afford to feel emotions. You always have to be very alert. You can’t allow yourself anything. Your body is a precise machine. The only emotion I ever felt was when, while digging the tunnel, we met the group digging from the other side. That encounter was intensely emotional, and only then could we allow ourselves to feel. Only then did my body rejoice, just two centimeters of difference in elevation!”. The workshop was divided into three phases. In the first phase, participants drew from memory a situation in which their body had experienced difficulty. In the second phase, they engaged in body practices. In the third phase, they returned to drawing. The first body practice involved walking silently in a group. The work then focused on the relationship between body and space, body and body, the act of bodies touching, and finally, the embrace. After the practices, we held a feedback session before returning to drawing. Had something changed in their bodies? What had happened between them? What perception did they have of themselves and of the other? Was there discomfort? Did the practices create connection? Can the interaction between bodies be a source of energy? Can it help in situations of discomfort?
Touch me, Nov ,2020
Type: Photography, stitching, audio
The project revolves around the idea of a constant state of dissolution, one that was amplified during the quarantine days of the March–April 2020 lockdown. The sense of disorientation caused by the overload of information in every field led to fragmentation, the dissolution of the self, and the need to seek unity and wholeness. These themes formed the core of the project.
Through visual fragments, I attempted to reconstruct this unity and reformulate both an inner and outer map by reassembling the environment we moved through. A series of images, made of details and fragments collected during brief walks, were printed, stitched, assembled one after another, and repeated. Each image was printed on cotton paper in postcard format (10×15 cm) and accompanied by faint, nearly invisible texts: words or phrases drawn from lived experiences, feelings, absorbed moments, things hated or loved.
A sound piece accompanied the visual component, enclosing and incubating us in a confined dimension. The project’s title came from Yoko Ono’s song Will You Touch Me. Touch, perhaps, was the small revolution that allowed us to reconnect with ourselves.
This was NOT a photography project, but rather a visual reworking, a mirror in which to reflect, an intimate path stitched together and still in need of stitching.
Frammenti di quarantena / Fragments of quarantine
La gazza ladra e il test dello specchio / The magpie and the mirror test
Cordata di uova di calamari fucsia / Strand of fuchsia squid eggs
Mad men
Il mar marcio di Nausica / Nausicaa’s rotten sea
Miyazaki
Le balene pilota si devono toccare / Pilot whales must touch each other
Amelia Etlinger
Gipi
Gorgia
Lezioni americane /Six Memos for the Next Millennium
Il fungo più grande è di circa 6km quadrati / The largest mushroom spans about 6 square kilometers
Gli appunti, la poesia / Notes, poetry
La pianta che spacca l’asfalto / The plant that breaks through tarmac
Come si sogna da ragazzi? / How do we dream as kids?
Jodorowsky
La psicomagia / Psychomagic
gli atti psicomagici / Psychomagic acts
I maschi delle giraffe che combattono per la supremazia/ Male giraffes fighting for dominance
Sepulveda
Achmatova
Lola darling / She’s Gotta Have It
ἴχωρ – ωροσ (Ichor – Of the Sacred Fluid) 2019
Type: Visual art: engraving and mixed media
It is a project that revisits the anatomy of the body, in this case of an animal, specifically of a horse, and focuses on the process of reduction, that is, the transition from complexity to essentiality through various stages. The anatomical image of a horse’s leg, symbolizing a container and part of a whole, is expressed in different ways until it is simplified, moving through translation and abstraction, thus creating new imaginaries. This process increasingly gives space to the element that flows within the leg, that is , the ichor, a symbol of vital essence, comparable to a resilient core that, in life, one sometimes feels is missing. It is a reminder that one can sink deep, but sometimes also veer sideways and pass through various stages along the way. One such stage, for example, is the parallel with the map of South America. Observing how forms find correspondences. A part of the body and a part of the world become containers of elements that flow, that move, that regenerate, that change.
AMOEBOID, Nov 2023
Type: Painting
Born for the exhibition Morfogenesi, curated by Cristallo Odescalchi, Amoeboid delves into the exploration of landscapes related to the anatomy of the body and is inspired by the amoeboid movement typical of certain cells, a movement that arises spontaneously, constantly generating new forms.
It is a project that plays with the power of imagination, recreating fantastical inner maps, while also prompting reflection on the connections between microcosm and macrocosm. What happens inside our bodies? Does our internal structure correspond to the external structure and the structure of the world around us? Does it suggest another way of being in the world?
One such correspondence discovered is that between amoeboid movement and that of dancing bodies, which interact with a specific space, continuously generating new forms. This parallel also emerged thanks to the Boomerang project by the dance company Maddai (Simona Lobbefaro and Lorenzo Giansante). The technique used follows the idea of ever-changing form and consists of painting with very fluid acrylic, starting from sketches and following the flow of the color. The layering then further amplifies the concept of transformation. This is achieved through the superimposition of the painted images, printed on glossy paper.
What inspires you as an artist? The bodies, the dancing bodies, the fragments, the forms and their abstraction, the signs, the tale of emotions, the power of transfiguration.
What do you think is the purpose of art? To offer the possibility of seeing things from different perspectives. To shift one’s gaze. To educate toward beauty in the broadest sense of the term. To recognize the power of imagination. To learn to ask questions.
Contacts