
2018, variable, Media: Porcelain, Stoneware, Firing Process: Reduction
Tako Tsubo is born from the subtle and frail research about grief. Tako Tsubo is universally recognized and included in the official list of illnesses, also known as the syndrome of the broken heart. Tako Tsubo is an ancient pot the Japanese use for fishing octopuses. Tako Tsubo is the shape the heart assumes, in a reversible way, during the syndrome and is the same as the Japanese pot. Connection between ceramic and pain. Hence TakoTsubo is born…. The pot turns into a container of memories, of grief and feelings, of hope and soft melancholy, of resignation that becomes a place of light although liable and elusive. The containers spit textiles and materials belonged to my family home, to my personal memories. TakoTsubo is a tale of pain and his elaboration, pain of lack, of what it could have been, but has not, the pain of helplessness. It also talks about processing loss through creativity, been healed … Companion for months, torment, led me by the hand to the epilogue… Dim light, gloomy, although light.

2019, 40cm X36cm X15cm, Media: Porcelain, Firing Process: Oxidation
Spring Brought Pollen is a body of work born in 2019 during a residency in Nove, a ceramic town in Veneto, Italy, at Antonio Bonaldi, ceramic artist studio. The cycles of nature rhythmically guide us through life following a scheme, a pattern that I feel inside and I urge to translate into my own language, into my forms. The “swam intelligence” of the organic life has its own way of communicating information, a language unknown and incomprehensible to us, I try to interpret it, to express my sensation of it. I challenged myself by working porcelain in a large scale, using slabs and altered forms. This particular piece is wheel - thrown by Bonaldi, I, then, punched and pushed the inside outwards shaping the pot into a bumpy, seedy looking form. I pierced holes into the surface, giving the feeling of enlarged porous. The orifices surrounded by a fading yellow slip. I embroidered the form with thin, hand rolled coils, circling around, almost like giving a new skin to the form. A patterned surface, like any other known in nature, though reinterpreted by me and by the eye of the viewer. After a gas firing, at 1260°C, I closed the openings with skin coloured leather, adding three dimension, a way to enhance the contrast between the porous and the skin.

2018, variable, Media: Stoneware, Firing Process: Reduction
Part of the TakoTsubo exhibition

2021, variable, Media: Stoneware, Firing Process: Electric
“Pillows for Beautiful Thoughts” is a recent body of work that has developed from my usual research into the need of rest, of peace. The difficulty of current times has pulled out the need of thinking happy thoughts, of beauty, serenity, so longing and desiring beauty I felt pushed into making this group of sensual forms. The blue green colour and the sinuous shapes draw the viewer into a cozy journey. The illusion of rest on a soft, tickling shape is attempting to cuddle the mind, the voluptuousness in tempting the senses. Hand – modelled in white stoneware, stained in three shades of green and raw glazed, fired at 1260°C.

2018, 50cm X 46cm X 21cm, Media: Mixed Media, Stoneware, Firing Process: High-fire, Reduction
Osmosis is part of the exhibition TakoTsubo Tako Tsubo is born from the subtle and frail research about grief. Tako Tsubo is universally recognized and included in the official list of illnesses, also known as the syndrome of the broken heart. Tako Tsubo is an ancient pot the Japanese use for fishing octopuses. Tako Tsubo is the shape the heart assumes, in a reversible way, during the syndrome and is the same as the Japanese pot. Connection between ceramic and pain. Hence TakoTsubo is born…. The pot turns into a container of memories, of grief and feelings, of hope and soft melancholy, of resignation that becomes a place of light although liable and elusive. The containers spit textiles and materials belonged to my family home, to my personal memories. TakoTsubo is a tale of pain and his elaboration, pain of lack, of what it could have been, but has not, the pain of helplessness. It also talks about processing loss through creativity, been healed … Companion for months, torment, led me by the hand to the epilogue… Dim light, gloomy, although light.

2023, 16cm X13cm, Media: Porcelain, Firing Process: Electric
The work represents a xenobot, a microscopic creature with a fluid organic shape, made of white and orange porcelain. Its sinuous shapes and texture recall the morphology of cells and biological tissues, while the delicacy of the material used adds an element of fragility and vulnerability to the work. Xenobots, despite being synthetic entities, raise important ethical questions regarding genetic manipulation, machine autonomy, and the boundary between the organic and the inorganic. The sculpture invites viewers to consider the implications of such innovations and to explore our emotional and moral reactions to these new artificial life forms.

2023, 35cm X 28cm X 20cm, Media: Colored porcelain, Stoneware, Firing Process: Electric, High-fire, Surface: Engobe / Slip / Underglaze, Glazed
From the "Onomatopeika" seire, Gokugoku is a Japanese onomatopoeic word that stands for bubbling liquids. Using repetition and volcanic glaze I played with the forms and colour to accentuate the movement and structure. As any form in nature the conformation is of a multitude of elements that harmonically works as a unit.

2023, 31cm X 29cm X9,5cm
Captivated by the hidden intricacies that exist beyond the naked eye, my work seeks to bridge the gap between the seen and the unseen. The microscopic imagery of cells, in this case water lilies cells. serves as both muse and medium, inviting viewers into a realm where science and art intertwine
Artist Statement
Bio
Born in 1976 in Avellino, is a ceramic artist who has dedicated her life to the creative exploration and interpretation of the language of nature. After graduating in Applied Ceramic Art, she expanded her skills at Morley College, London, specializing in ceramics, painting, art and design. In the following years, she gained valuable experience working at renowned ceramic studios such as Stoltzman and Thomas in London. In 2005, she opened her studio in Pozzuoli and collaborated with the architectural firm Cappelli e Ranzo of Naples. In her ceramic research, she has explored wood firings, primitive firings, kiln building.
Currently she is based in Bozzolo, Mantua. Her recent activities include the solo exhibition “Particelle” curated by Microclima at the Serra dei Giardini in Venice in 2021 and the solo exhibition "TakoTsubo" at Le Nove Hotel in Nove, Vicenza in 2020. She was a finalist at the KICB, the Korean International Ceramic Biennial, in 2019 and 2021.