Erica Fenaroli

biography | images

Born in Brescia, Italy, 1974

Lives and works in Brescia

Work: Video, photography, drawing, narrative writing

 

Exhibitions

2008
Ray, curated by Bruno Lorini and Giulio Mozzi, Fondazione Bevilacqua La Masa, Venezia
Ray, curated by Bruno Lorini and Giulio Mozzi, Museo Ricci Oddi, Piacenza
The Word is Yours , curated by Margherita Salmaso and Chiara Zizioli, Fabbrica Borroni, Milano

2007

Animal Stories, Erica Fenaroli, Davide Rivalta, CITRIC, curated by Valentina Costa

 


Artist Published Writing

2007
“Sottovoce”, Clandestino magazine, No.4/2007
“C'era una volta un re”, catalogue of the show “Discontinuità narrative”, published by CITRIC
“Le età di una donna”, catalogue of the prize Bando alle donne, Castelfiorentino, Firenze

2006
“Conto alla rovescia”, UOVO, No.10/2006


Grants and Awards
2007
“Le età di una donna”, winner of the prize Bando alle donne, Castelfiorentino, Firenze

2006
“Ho giocato a palle di neve con Dio”, winner of the prize Centoparole Feltrinelli, Brescia


Special projects
2008
"Ray", by Carlo Dalcielo, Minimum Fax, Roma

2007
“Elogio dell’ombra”, project for Artalgìa, curated by Mauro Panzera
“Ancóra”, first page www.citricgallery.com, April


Artist's Statement

Making/Creating a work of art is for me a form of knowledge.

The creative act is a cognitive one; an endless (a ceaseless) research for truth.

For each situation, this research, takes a different expressive medium: writing, drawing, video, photography, embroidery, sculptures, or origami, which interact with each other. From this emerges a multiform poetic in which every thought, every work, chooses its own way, crossing that of the others.

My work consists essentially in inhabiting, and at the same time in giving life, (to) an imagination that is formed through distinct ways of expression. Each work is the fragment of the same (discourse) (language) (expression).

I write to construct new forms on paper.

I use sounds and voice to create a works with air.

I photograph to capture the light and give it the form of something that did not exist before.

I draw not to describe objects, but rather to remember them.

I embroider to move away from words and images, to wait.

Within the photographs I hint at an underlying narration; the image recalls something else, a world which lies beyond the photographic surface.

The drawings originate as isolated images suspended in the white space of the paper, deprived of any context.

The narrations develop always around a real or invented image. In the short stories I use words to express the possibility of a story. In the longer ones, the stories are more articulate: possibility becomes accomplished. I use short phrases: I place the period when ideally one’s breath finishes while reading that sentence.