Idea
Buta no Atama
Zoo
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| Trofeo 3. |
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| Trofeo 3. |
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| Lupo |
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| Lupo (detail). |
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| Iena. |
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| Iena (detail). |
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| Cavallo. |
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| Cervo. |
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| Cervo. |
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| Baby Cervo. |
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| Baby Cervo. |
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| Baby Cervo (detail). |
Io e Tu
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| Io. |
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| Tu. |
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| Io e Tu. |
Il e La
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| Il e La. |
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| La. |
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| Il. |
Arpie
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| Io Arpia. |
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| Il Arpia. |
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| Il Arpia (detail). |
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| La Arpia. |
Bronzi
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| Io te do il mio Stomaco Tu me dai il tuo Cuore. |
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| In Croci. |
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| In Croci (detail). |
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| Io ti do il mio Cuore Tu mi dai il tuo Pene. |
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| Venere Maiala. |
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| Equilibrista. |
Alchimie
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| Mr. Fish. |
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| Miss Fish. |
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| Il Custode. |
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| Wood Woman. |
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| Bird Woman. |
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| Woman-home. |
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| Woman-home 1 & 2. |
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| Hide and Seek. |
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| Hide and Seek # 1. |
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| Hide and Seek # 3. |
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Marmaid.
|
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| Marmaid. |
BONES CAN WAIT
BY CATERINA SILENZI
Animals are to be respected, for different reasons. Not because they are “good” or useful for us (they are not all this way) but because a norm inside us, and acknowledged by all the religions and legislations, summons us not to cause pain, neither to us nor to any creature able to perceive it […] Laymen have few certainty but this is the main one: it’s acceptable to suffer or cause pain only to save oneself or someone else a deeper suffer. It’s a simple rule but its consequences are complex and everybody knows it. How to compare our own pain with the others’?
Primo Levi Against the pain in The Others’Job.
Caterina Silenzi’s sculpture moves along the dimension of the encounter, the expectation, the creation as vital ritual. The artist’s Trophies set up a hybrid gallery of characters: animals speaking the humans’ body language and humans who show themselves under animal semblance. Where does the former start and the latter end?
Caterina Silenzi gives animals and their anatomy recognition of intrinsic wisdom, finding a map in their bones, a path, a trace where her creation starts.
The artist does not look for the bones, but rather comes across them and from the casuality of their encounter the weave begins of a new story, of a new life.
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