We usually consider our body as a full surface, something that takes place in a clear space, in the vacuum of the atmosphere. But as learned from the typographical rules, empty/negative space has its own language and its fundamental importance. Spaces of this type are widely underlined and solicited during certain types of training in which the body must be changed and transformed in the name of beauty, traditions or necessity. Our body is full of these “empty spaces” thanks to our great mobility and they are often not considered; but thanks to the position maintained (for example during classical dance), you become a creator of stable space that was previously unstable.

Starting from the Interspace project which reflected on how the mind can occupy a physical space in the body, this indissoluble mind-body connection returns strongly in the re-construction of an identity destroyed by mental disorder. Thus the development of “Interspace chapter 3” project, during a period of residence in the Forte of Fortezza, aims to be an opportunity to reflect on one’s own body and that of others. The project resumes the methods of creation of the previous chapters “Interspace” and “Interspace 2.0” by working with white clay, a delicate and organic material, embellished with golden laces and plants. The spaces of the body that excessive weight loss and an eating disorder can modify are filled again by white ceramic sculptures that become “walking” plant pots. Breast, hips, butt, chin, cheeks, belly, legs are all spaces that were previously occupied by muscle, fat, flesh, skin... and now? Now empty, now it is the mind that fills them, it still perceives them as full, as existing due to the mental disorder also defined as dysmorphism. However, this is a wrong perception and the sculptures aim to bring the body and mind back to an awareness of their physical and mental situation and to possible rehabilitation. Furthermore, the aesthetical beauty of the works and the presence of a living element such as plants want to underline the richness that fat, muscle and meat represent for our organism and our identity which is nourished by a healthy and balanced body.

“Interspace chapter 3” wants to rediscover a corporeity that takes up space, that does not vanish, that enhances every body and every part of the body. Through a performance, the vases are hung on the body which itself becomes a sculptural testimony, a physical presence of the body that leaves a trace of itself, a trace of bodies in evolution, in connection, covers that continue to grow and take up space.