The Trumpets of the Angels Announce the “Muso”
The Trumpets of the Angels Announce the “Muso”
2024, Watercolor and gouache on canvas, 2.1 x 1.2m
From drawing from life, the real, comes the muso (muse [musa] is only feminine in Italian, “muso” is a face of an animal or a car part, but here is being used incorrectly to mean male muse), of the original artist of the studio, from the real comes you, my muse. The trumpets are prepared to play your return, rebirth.
Inspired by Studio Pisani, a place where the tradition of the real still lives, depicted in the same pose that once stood was the sculpture of Sara Bernabucci's grandfather. Resuming the harmony of the giant in the studio, it is my muzzle, 2 meters high, stretched out, from the poisonous effect of the angels' trumpets, an effect once used in women's umbrellas to keep away unwanted attention. He becomes an angel, in the cementation with the stones and earth from which his form rests.
use this space to pause.
Domestication
Domestication
2024, Watercolor and ink on canvas, 1.5 x 1m
Domestication renders all materiality transparent, giving visibility to subjectsthat believed their intentions were hidden in the safety of shadows.
Insitionem
Insitionem
2023, watercolor and ink on canvas, 10 x 10cm, GIF on screen in acrylic
Giuseppe Tagliacozzi, Italy’s first cosmetic surgeon, lived for a time in Tagliacozzo. Taggliacozzi, grafted flesh from his patients’ arms, still attached, to the noses of his patients. Once bedridden in a special device to ensure that the flesh would not come off the arm, patients can now show their patches as they heal.
The face of a woman, Maya, of Persian descent, an area that competes with the most rhinoplasties in the world, becomes a status ‘symbol. A rhinoplasty plays to two audiences that know and don’t know, those who have witnessed a transformation, or have trained themselves to see a nose job, and those who have accepted the nose as part of the nature, as having its proper place.
Grafting also took place in the Ducal Palace in Tagliacozzo in the 1980s, in the form of people who carried away pieces of the building. Those familiar with the original appearance of the palace witnessed the transformation of a building, the removal of material from its origin and its placement in another. There are those who see the palace, and accept its aging nature, as a fracture.
