She ranges between installations, illustration and video art in all of which her stylistic identity always rings true: refinement, elegance and an essentiality of representation, combined with a subtle vein of irony. Here she is exalting soon forgotten female figures in the star system (Framed 100 round trips to Hollywood, 2010) there she is illuminating the lives of dynamic, pioneering women whose revolution has yet to be completed (Nimby, 2016). From archive research to the creation of icons of the contemporary, Filiberti’s works focuses on diverse themes never politically correct.
The most renowned work is Pepita.
With Seidimano (Mondadori Electa 2017) 54 dual images from a deck of cards represent the subtle dynamics of card games as the game of life. Small images matched with quotes from F. Dostoevskij’s The Gambler, and audio and video installations. Since 2018 she started a pilgrimage with Cappelline, dedicated to the Holy Virgin.
Pepita, the Maid of the New Millennium
Pepita, the anti-Barbie, one large, wide-open eye and one very small. The first one is the master eye, its tireless attempt to see beyond. The smaller eye, the real, the tangible. When, in a character, reason and vision find an equilibrium, they become really very strong.
Her adventures develop in broad sequences, frequently associated with mythology or with history, while at the same time being perfectly contemporary.Only later do they become scripts. She therefore draws on the iconography of the past, updating it in relation to the themes she tackles. Pepita experiences everything passionately and loves immersing herself in iconic characters and situations recognisable by the collective imagination. Pepita, with her multi-faceted personality, is a particular admirer of Joan of Arc and the spirit of the ancient knights.