COME UN CAMMELLO IN UNA GRONDAIA

The work unfolds along a fragile boundary between presence and absence, between matter and dissolution.

Three funeral wreaths composed of thousands of white origami flowers appear as precarious monuments. The flower, a traditional symbol of beauty and transience, is here fixed in an apparently eternal form. Yet the material itself contains a paradox: if the wreaths were ever to encounter water, they would immediately dissolve.

Two women cry continuously. Their lament fills the gallery, becoming the soundscape of the space. The grief has no declared object; it exists as a pure emotional state. But pushed to its extreme, mourning begins to overturn itself: the crying gradually transforms into hysterical laughter, before collapsing again into tears. The performance oscillates endlessly between these two poles, eroding the boundary between tragedy and farce.

On the wall hangs a single empty nail.

A visible absence. Something should be there, yet it is not. The nail becomes the tension between memory and forgetting, expectation and disappointment.