Unique piece. NFT and Artwork.
16/16 cm, depth 10 cm.
Black or white cube, stainless steel.
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.
This work by Iaia Filiberti is a fairy game, populated with bright colors, magical labyrinths and mythological figures.
And here is a kind of wunderkammer, where the deep walls of the frames imprison the gaze inside an imaginary room, where the eye focuses and loses itself in the artistic image. Thus we are captured, as when as children, looking inside a stereoscope, we seemed to become part of the enlarged frame that flowed before our eyes.
Arianna e Teseo is a beautiful metaphor: Iaia is Arianna herself who with her thread guides Teseo, that is, the audience, through the labyrinth of her images and memories. A vegetable labyrinth, that is, an ancient and universal structure that returns in multiple cultures, a symbol of challenge, risk and mystery. Iaia does not abandon us, but takes us by the hand, delving into its secrets, but at the same time leaving us free to discover and walk the paths we most desire. This exquisitely personal little universe belongs to nature: it is Iaia's variegated garden above Stresa, on Lake Maggiore, a place of the heart for her, transfigured by her creative skill. Here then are the details of trees against chewing-gum pink skies; dense woods, a symbol of our irrational component, often against sunsets lowered into a fairy-tale dimension; strong and lush branches, psychedelic details, given by the strength of the chromatics and the cut of the framing.
Others open up to white and light: more tragic, they are sometimes traversed by a dense network of branches that seem to communicate with each other and reflect each other like blood vessels and neural networks; sometimes, however, the scenery becomes even cleaner and more minimal, leaving more space for the great white sky.