Working on large forms is a necessity in itself. I think my drive or desire for creating these large works, connects me to a particular emotion hidden inside me; it’s an urge, a necessity, like feeling hungry.
What is the meaning of where we come from?
the space around us,the universe, feels like an empty place without answers. but the rhythm that we have every day is the fact that time passes whatever happens.The empty space contrasts to the speed surrounding us.This particular tension is the search for movement in forms.
Sculpture gives the emotion of anxiety about what is really happening around us.
The human body, for me, is an incredible source of infinity of movement.
It’s the connection to rhythm that inspires color for me, according to each unique shape.
It can be abstract or figurative, it doesn’t matter, what is important for me, is to find the energy of the subject and materials, and to set these free in my work. Its a bit of a mystic approach.
When I work with a model, I like to expose the true beauty of my subject, often hidden by society’s norms, creating an object that will express the desires and confidence of the subject and break down society’s constrictive beliefs.
In the end the object is the result of a performance of a life experiment.
Desire is fundamental, as it is the force of life and this is actually what I am looking to express when I am about to create a new piece.
I see a heroic figure in my African models. After centuries of Western oppression, I want to show their true power, resistance and dynamics, to return the dignity they may not feel in that moment.
Like an athlete that pushes himself to the limit, I like to push the possibility of the sculpture to a physical aspect.
The adrenaline I feel to succeed in expressing this as a performance is vital to release the energy boiling inside my subject.They become a sort of spiritual object looking at the world.
looking at tension is like giving birth to a feeling and vision that take place in the space.
Sculptures are forms that are trying to come out from inside and connect to each other like a new language; this idea has to always stay up .
I like the fact that Sculpture reminds us how small we are in the universe. It’s very important for me to work on the impact that it has on the viewer, so we understand ourselves more, avoiding the borders that society creates around us.
11 aprile 1986
In Paris, she entered the art studio of the famous sculptor, Valentina Zeile, where she stayed for 3 years, whilst also attending the art school de Sevre.
She won a competition to join of the School of Fine Arts in Paris where was followed by the artist Richard Deacon. During this time, she also took painting lessons with the painter Sebastien Salva.
Left the school of Fine Arts in Paris complaining about the insufficiency of anatomy courses; Entered the Repin, the famous St. Petersburg School of Fine Arts, in search of the perfect line in design.
Moved to Tuscany, to Carrara, to learn the art of working with marble.
Travelled to Brazil and to the city of Bahia, where she found great inspiration for her first research on Africa, on the movements of the body and its rhythms,
also developing an interest in the history of African slavery.
Influenced by a trip to Seville and Granada city with its Islamic influences, she decided to move to Istanbul where she opened a workshop to deepen this culture, though never abandoning the concepts of African art. The three-dimensional geometric representations of Islamic art thus became an essential point in the artist’s search for form.
Exhibited at the Philharmonie in Paris, with an important research work against cancer called «Invisible Energy».
In her studio in Istanbul she started working on aluminum casting techniques, producing 4 sculptures.
She ardently offers job opportunities to various professionals from disadvantaged geographic areas, who alternate in her study.