SELECTED WORKS COLLABORATIONS

preliminary remarks

I regard visual art as a space of inquiry, a medium through which we can examine our genealogies and transform the personal into the collective. With this awareness, in 2022, I started a research project exploring ways to translate my experiences of migration into video, imagery, and performance. My focus centers on the often-invisible laboring bodies that uphold the cleanliness and functionality of our environments—bodies whose very invisibility sustains the seamless functioning of a world shaped by neoliberal economies.

Understanding knowledge as situated requires acknowledging that research and thought emerge from, and are embedded within, the web of relationships that constitute the multiple worlds we inhabit and interrogate. Reflecting on Donna Haraway’s concept of “situated knowledges”—as developed in Situated Knowledges: The Science Question in Feminism and the Privilege of Partial Perspective (1989)—my work challenges the disembodied objectivity typical of dominant academic paradigms. Instead, my research is rooted in a feminist epistemology that embraces partiality and embodiment.

What I seek to articulate begins from a lived reality that directly implicates me. Therefore, I’d like to specify that domestic labor is not merely a subject of investigation; it is formative of my social position and class identity. It is both the origin and the material of my inquiry.

I will transform your bite into a tool to speak my truth
Sterling silver
2025

When the question “Who am I?” turns into “How much am I worth?”, when every procedure of oneself is measured through the gaze of others and even pronouncing one’s name means having to tell one’s origins, then the desire to escape from the present becomes almost inevitable.

“I will transform your bite into a tool to speak my truth”, is a project conducted in direct dialogue with the mother, a domestic worker. An exploration of the silencing force that pushes one to conform: to speak correctly, adopt refined language, construct impeccable sentences, deny one’s class roots, and make domestic work invisible.

I will transform your bite into a tool to speak my truth - installation view (frontal) - Le formule magiche funzionano solo se pronunciate ad alta voce? curated by Caterina Benvegnù and Stefania Schiavon, Padova, Italy

From Bram Stoker to today, the association between the Romanian territory and stories of vampires and ghosts has become almost automatic. This tendency then turns into a suggestion, an imaginative pretext to conceive a tool, a weapon, a form of protection against the transformations we put in place to escape reality.

Thus, arises the urge to envision oneself in the mother’s bite, as a way to gather the strength to finally tell one's story.

I will transform your bite into a tool to speak my truth - installation view (side) - Le formule magiche funzionano solo se pronunciate ad alta voce? curated by Caterina Benvegnù and Stefania Schiavon, Padova 2025.

I will transform your bite into a tool to speak my truth (Process documentation), 2025.

I will transform your bite into a tool to speak my truth (Process documentation), 2025.

Thanks to: Emma Cortesi, Enrico Cortesi, Giovanni Zulian

produced by: MAC Studi d’Artista, Progetto Giovani comune di Padova

STARE NEL MORSO DELLA CURA.
Lavoro domestico e sperimentazione artistica
March 2025

(WITHIN THE BITE OF CARE. Domestic Work and Artistic Research)

Thesis published for my Bachelor’s Degree graduation

“STARE NEL MORSO DELLA CURA. Lavoro domestico e sperimentazione artistica”, provides a comprehensive analysis of the political, ethical, and philosophical implications surrounding domestic and care work, examining its significance and visibility within the contemporary artistic and performative fields. Through an intersectional lens, the study emphasizes the political struggles tied to domestic and care labor, aiming to trace a trajectory that, through artistic practices, underscores the essentiality of care work.

The COVID-19 pandemic brought up the urgency to rethink political and ethical forms centered on care, as well as highlighting the inability to protect vulnerable bodies, bringing to the fore the invisibility of the work done by millions of women and racialized people to keep the world clean and functioning.
In the post-pandemic scenario, innumerable artistic and cultural institutions—museums, festivals, and biennials—have increasingly placed the concept of care at the center of their reviews, public programs, residencies, and exhibitions, transforming it into a keyword. However, this attention has often taken on a romanticizing perspective, and in a short time, the reflection on care has lost its centrality. For this reason, I have chosen to start a discourse on care without reducing it to a simple metaphor.

From the Latin, cūra, refers to the forms of care and vigilance towards all living forms and their continuous change.
In the English language, the expression take care is commonly used to say goodbye, but, as the philosopher Virginia Held observes, in pronouncing it, we are implicitly stating: “Take care of yourself, because I care about you.” This recognition reveals the network of interdependence, discussed by the American philosopher Joan Tronto, that binds us and that we often tend to take for granted.
Therefore, in reflecting on care, it is essential to affirm that the “crusades of conquest” of some are made possible by the work of marginalized subjectivities. For this reason, thinking and acting with care requires redefining and moving the boundaries of morality, including divergent voices and perspectives.
With this awareness, I have chosen to activate a discourse that highlights the conditions of domestic and care work, still underpaid, taken for granted, and systematically made invisible in the normative configuration of the reality we inhabit.

In my research, I analyze artistic and performative experimentation, selecting examples that, starting from a struggle within their narratives, have successfully brought domestic tasks to the forefront, removing them from the blind spot.

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Try not to cry laughing
Performative reading
30’
2024

“Try Not to Cry Laughing” is a performative reading in which writing becomes a tool to reflect on the limits of language and on failure as a form of resistance. The text plays with the Italian language from the perspective of a young non-Italian artist.

Try not to cry-laugh at Stars are Blind, the Iuav degree show at Bocciofila S. Sebastiano, Venice, 2024.

In response to the question, “Am I speaking to you, or are the voices I’ve encountered speaking?”, memory triggers a disordered stream of thoughts that takes shape as a fragmented attempt at self-narration.
This narration unfolds through the reassembly of images and texts gathered from walls, T-shirts, billboards, messages, songs, tickets, and newspapers, in an attempt to form a letter without a recipient.

Repetition, mimicry, and plagiarism become the methods by which discourse emerges, one that resists the accelerated flow of time and invites us to embrace the unfinished nature of processes and the radical possibility of not having to assert ourselves.

Try not to cry-laugh at Stars are Blind, the Iuav degree show at Bocciofila S. Sebastiano, Venice, 2024.

Try not to cry-laugh (Process documentation), 2024

Thanks to: Valeria Sola collective, Jacopo Miliani

what connects us?
Photographic series
21x14,8 cm
2022 -2023

What happens when you lose your job?