/Searching for the Being Stability/




Audio, fabric, natural elements

The installation includes a curtain, sound audio and the text of the audio placed under glass. The public is invited to come inside this kind of hideout and listen to the audio. Inside the tent you will find an intimate, contem- plative space with natural elements illuminated by phosphorescent lights. The narrator is ambiguous: the speaker could be a person, the nature or an inner self. The work arises as a reflection on our habits. How long can we listen to what is around and inside of us? How long are we willing to listen and observe?



wood, glass, plastic, plaster, sand, pigment, Himalayan pink salt, oysters, wax, silicone, fabric, natural elements

The works (exposed during the opening of the new studio) are inspired by Kali Yuga. According to the interpretation of most of the Hindu Holy Scriptures, the evolution of the Earth is divided into four Eras called Yuga. Kali Yuga is the last of the four ages. It is a dark era, characterized by numerous conflicts and widespread spiritual ignorance. Kali Yuga will lead to the end of the world as we know it, to start over with a new era, also called the golden age. In this transition, history will fall into oblivion and the Earth will become an uncontaminated paradise.

Starting from this interpretation, I created some works that are linked to the concept of a new world, where objects have primordial characteristics, where contact with nature and matter is very close. Some of the works revolve around the fire as an activator of the development of civilization which, however, led to the uncontrolled exploitation of the Earth. They are cathartic works that represent the desire for purification, rebirth and represent the beginning and the end at the same time.


Residency Project / Glasgow Sculpture Studio, Glasgow, Scotland



The work carried out during the residency is the result of a reflection around the consumption of products and all the forces that exist around it. Before consumption there is the production of the products and after consumption the waste. In this cycle, the human is at the center, to satisfy every kind of need and ultra need, expanding more and more the offer of products for every – superfluous – necessity. But it is in this multiplicity of offer that parallel grows a silent world made of that discarded matter, abandoned and that it blends with nature and the urban landscape and creates a personal world of representation. In this wandering the matter lives a life and moving, it collects other matter, it changes, it stops, it consumes, it burns.

Man has make all this and becomes a victim of its consumption and consumerism, think for example about intolerances or to the products reduced in sugar: we create these after the disproportionate consumption. Conformism, habit, convenience tend us to conform to the current customs and that by following the rules we end up to see this something immutable, as if instead of being a human creation they were dictated by nature, but it is not nature, it is just our construction.

“L’uomo è un animale sospeso tra ragnatele di significato che egli stesso ha tessuto.”
Max Weber

“So how can define this matter-movement, this matter-energy, this matter flow, this matter in variation that enters assemblages and leaves them? It is a destratified, deterritorialize matter…It is a region of vague and material essences (vagabond, inexact and yet rigorous), distinguishing them from fixed, metric and formal, essences…They relate to a corporeality (materiality) that is not to be confused either with an intelligible, formal essentiality or a sensible, formed and perceived, thinghood”.

Deleuze and Guattari, Thousand Plateaus

mixed media

wood, glass, plaster, fabric, wadding, oil paint, marble dust, glue, aluminum, glitter, mirror, mastic, sponge, needle, thread, cork, soap, organic elements, cotton

In my work I want to express my interest for those gestures that are part of everyday life. These acts – linked to routine – often become invisible for us due to habit and repetition. It is in these minimal gestures/acts that is actually based our “being-in-the world”. The philosopher Martin Heidegger says that being is to inhabit the world, and somehow I think that the act of tidying up is a form of “rooting” ourselves in the world. When everyday rearrange, we relate ourselves not only to the organization of the objects, but also with the order of space. The space in general, and the domestic space in particular, have their invisible spatial code to which we must adapt. This order guides in a geometrical form – without noticing – every action in space. The space becomes not only physically, but also cultural and related to everyone’s personality.




Photograph on synthetic fabric

In this work I reflect about the usual view of the things and I imagine, for example, how a rigid material like a glass can be a fluid and soft like a tissue and vice versa.

Spazio Barriera, Torino




plaster and sponge

In this work I wonder about the – utopian – life of a sponge inside a space that is not its own. To change the usual statute of the object I try to imagine the “role”, the “task” of objects in daily life.

Spazio Barriera, Torino
Variazioni / Variation
Mixed media
Spazio Barriera, Torino



Sculpture, installation, assemblage, ready-made
Plaster, pigments, acrylic, varnish, mural paint, oil paint, beeswax, wax, mar- ble dust, glue, gold, copper, aluminum, glitter, plastic, glass, wood, slate

Things seem to be absorbed by the space, suspended between presence and absence, but in a constant physical relationship with us and our being. My work is always linked to the idea that the artwork can change in time. I’m interest to the construction and deconstruction of materiality and I want to discover the potentiality and the inability of objects to see another side of the subject treated. it is for this reason that I often leave the possi- bility to the work to change shape.

The installations are mainly composed of plaster sculptures (and other materials), found objects, assemblage, pure materials, ready-made that in their forms and materials are linked to objects of our daily life. The instal- lations are presented as the translation of my vision and synthesis of the reality. These works create a number of possible references that include architecture, childhood games, objects of daily use. The freedom of inter- pretation allows the user to create a personal vision of the work. Reposition itself has a double interpretation: it is the way to indicate the “fix”, the reordered objects and space, but it is also a possible way to defi- ne and especially “redefine ourselves” in space; to place ourselves in the world, putting us in relation to reality and give value and meaning to our surroundings. Redefine our vision of reality, a vision that must be active and not passive. It often happens that our surroundings become invisible to our eyes once they are consolidated in our habits.

Somehow, the “things” that populate our world possess their vitality even when forced to immobility.


Sensible Objects-22-low res
(Ph. Francesca Cirilli)
Sensible Objects
(Ph. Francesca Cirilli)
Sensible Objects
(Ph. Francesca Cirilli)
Sensible Objects
(Ph. Francesca Cirilli)
Sensible Objects-35-low res
(Ph. Francesca Cirilli)
Sensible Objects-36-low res
(Ph. Francesca Cirilli)
Sensible Objects-37-low res
(Ph. Francesca Cirilli)
Composizioni – oggetti sensibili / Compositions – Sensible Objects

Digital photograph
Inkjet print on Hahnemühle poly-coated paper mouted on aluminium
30 x 45 cm
Applicazioni per un possibile diorama / Applications for a possible diorama
Adhesive plastic
Variable dimensions

This work includes a series of photographs in which the objects are pre- sented, sometimes in a sort of paradoxical form. Through careful study of shapes, colors, perspective and composition, the immobility of objects it is represented. They seem to support themselves with each other and lose their initial function. Compositions are suspended in a monochrome spa- ce where the “guidelines” , that govern the composition, are broken glass and plates of zinc: without these elements, the compositions – and image – would not have the same harmony. The idea is to start from immobility of the objects and, through their dialogue, bring them closer to our being and to our living dimension.





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