The new photographic series ‘Stasis,’ curated by Rossella Damiani, explores the concept of movement through images that suggest suspension. The works feature figures seemingly immobilised in a moment of transition, between balance and fall. The series analyses stasis not as immobility, but as a point of maximum tension. In one of the photographs, a body clinging to the edge of a white wall exemplifies this ambivalence between drive and abandonment. The uncertainty about the intent of the hands reinforces the idea of conflict, a metaphor for the emotional and physical tension inherent in the creative process.
The series explores the theme of uncertainty, accentuated by the transoceanic origin of the movement instructions, transmitted via a screen. Distance is integrated into the choreography, in which the artist seeks guidance and support from an often dispersed but fundamental community. Communication between the individual and the collective pervades the entire work. Individual bodies appear elastic and vulnerable. United bodies are transformed into living architectures and sculptures, evoking body art and contemporary sculpture, in which the human figure becomes material to be composed and decomposed. The fashion element contrasts with the bare environment of the rehearsal room. Transparent bodysuits, fishnet stockings and sequins cling to the movements like a second performative skin. The aesthetic, reminiscent of clubbing and editorial fashion, takes on an almost dissonant value, as if desire and gender were represented in a neutral space, devoid of superfluous elements.
The photographer describes ‘the sway of the pendulum’ as the driving force behind every artist. STASIS captures this pendulum at the moment of maximum tension, when the gesture manifests itself primarily as intention. In this imposed suspension, the bodies highlight the paradox inherent in the creative process: understanding of progress emerges from immobility at the point of greatest instability.
