In the Cosmos everything is related
Ties
Who I am
As a child, I began to be fascinated by art in the living rooms filled with the 17th-century works of my uncle, an antique dealer. Over time, my creativity met and clashed with my scientific studies, culminating in my degree in Engineering. However, my education was never an obstacle. I believe that all sciences are the fruit of creative impulses. During my nearly ten-year stay in Rome, a pivotal encounter was with Professor Picozza, president of the Giorgio and Isa De Chirico Foundation, with whom I organized my first solo painting exhibition at the venue on Via Dei Tre Orologi, and with Marina Mattei, curator and archaeologist of the Capitoline Museums, a figure who would soon become a mentor and friend. Thus, I decided to shed my engineering garb and embrace the naked soul of the artist. Thus, I began participating in exhibitions, engaging in discussions with artists, critics, and collectors, engaging with the national and international art world. I have exhibited in Rome, Palermo, Genoa, Turin, Milan, L'Aquila, Porto Cervo, Poltu Quatu, Porto Rotondo, Corte Franca, Mantua, Olbia, La Spezia, Florence, Venice, San Pantaleo, Sorrento, Barcelona, Bruges, and Paris. In 2019, I returned to Abruzzo to join the studio of master Raimondo Tiberio, thus exploring sculpture. In 2020, during the pandemic, I decided to move to Sardinia, a land that welcomed me with its strong energy and wonderful colors.
Existentialism
it is intertwined
with sustainability
Emanuela Giacco
Research
I emphasize the complexity of the human being made up of the stratification of genetic, moral and cultural codes.
I refer to the manifold nature of all those constraints that human beings experience throughout their existence, arriving at a historical discourse that traces the entire journey of humanity, from its origins to the present. The evolving individual, the individual as an infinitesimal part of a moving and expanding Universe, a Universe that, mutating in a space-time dimension encompassing past, present, and future, leaves stalactite traces of its own transformation. The chaos of skeins and entanglements is juxtaposed with the simplicity of a single element: the summit. The summit as a symbolic and expressive element that encompasses all my research. In the element "summit," I detect a multitude of echoes: The summit responds to the law of the logarithmic spiral, a structure ubiquitous in nature from DNA to galaxies, describing and encompassing the "All," from the microcosm to the macrocosm; the summit, on a purely formal level, is linked to the Fibonacci series, which expresses the concept of beauty and harmony; The summit speaks of the superstructures and intertwinings of the human unconscious, never unraveled. The summit symbolizes the bonds that are part of every person's existence.
Ties, like individual constraints, but also like the set of superstructures that cause individual choices to be continually and inevitably influenced by place, historical period, culture, and religion. Whether we are aware of them or not determines their value within each individual's experience. The interweaving of knots represents the "I" of each individual, which connects to the "Whole." Everything merges, everything is connected by a bond, but at the same time, each thread has its own dimension and, thanks to this, can discern what is foreign to it. Hence the connection with the Universe, with the Whole, with nature. The theater of each individual's life, namely our planet and its protection, becomes a central theme for me, so my research embraces the world of sustainability. The rope element thus becomes a recovered rope. I survey beaches and seas; I have involved several sailors, fishermen, and shipping companies in my project to recover and remove tons of nautical ropes from the waste. The rope thus takes on other values: recycled rope speaks of history, carrying with it the energy of the hands that caressed or tugged it, the strength and calm of the oceans it has crossed. The textile sculptures are in fact made with recycled rope, thus encapsulating the synthesis of my current research: existentialism, the universe, nature, and sustainability.
Vision
sustainability
existentialism
connection
Existentialism
When the mind ponders questions like "Who am I?", "What is the meaning of my existence?", "Where do I come from?", we feel a slight anguish, because we believe ourselves separate, enclosed within the confines of an ego. But if we slow our gaze and listen deeply, we discover the non-self: the absence of an isolated center. We discover that we are the interweaving and breathing of the world. Ancient elements, silent herbs, furtive animals, invisible viruses, and mineral dust flow within us. Every form that has ever existed lives in the beating of our cells and the thoughts of our mind. We are walking memory, echoes of the Earth, life that continues to recognize itself in new forms.
Connection
The summit leads us to the concept of bond, connection, union. The summit carries with it a message of sharing, integration, and respect. Looking to the present and the future, knowing that we are all connected by a profound bond, helps counteract the sense of loneliness that increasingly grips every individual in our era. An era that shows us an increasingly virtual and fast-paced world in which everyone seems increasingly disconnected from reality. I believe that bringing values such as sharing and communion back to the forefront can only make us better. I believe that feeling part of the universe can lead us to archaic energies, so that the value of each can grow exponentially in a Cosmic bond.
Sustainability
Protecting our ecosystem means protecting ourselves. Sustainability becomes the watchword. Art has always questioned the present moment, narrating changes and revolutions, sometimes anticipating them. I believe that today art cannot fail to address the climate crisis. I believe in a project that awakens social consciences. Every year, tons of synthetic textile fibers are disposed of and, in the worst cases, dumped on the seabed, harming seagrass and all species. Creating works with recycled materials not only minimizes the environmental impact but also highlights the theme and the reflection it seeks to convey. I believe that art speaks through emotions, which is why the message it conveys will always be so powerful.
My reflections intertwine and continue to intertwine. Whatever the starting point, everything seems, at this stage, to manifest itself in a tangle of peaks...
the Medium, the Process, the Summit
The practice of creating textile sculptures using salvaged nautical ropes is based on a long and multi-layered process, in which time and the transformation of the material play a central role. It all begins with the salvaged ropes, followed by careful sorting, prolonged washing cycles, and a classification phase that precedes any formal definition. At this initial stage, the work is not yet visible, but the material retains and retains an energetic tension that anticipates its presence.
The design process takes place subsequently, through the definition of the load-bearing structure, when necessary, often made of metal, especially for large-scale works, which can weigh up to several tons.
This framework is where the intimate and meditative phase of the process takes shape: the construction of the weaves and knots. The ropes are worked one by one, woven, knotted, and tensioned according to calibrated rhythms and gestures, in a constant dialogue between control and unpredictability. The knots here become formal units and sculptural signs, capable of accumulating memory, strength, and tension, contributing to the definition of the work's volume and surface.
The process concludes with the treatment of the ropes: coloring and resin finishing transform the flexible fabric into a compact, monolithic body. This final step gives the work strong mechanical resistance and durability over time, allowing it to interact with space and the elements, in a constant dialogue between material, strength, and permanence.