OSSIMORI

"There are somehow reminiscent of totmes. Or perhaps apotropaic. Depending on how you look them, or where from, and how long you have been looking at them. They can seem like votive objects, the answer from oracle, or surreal compositions. Each one has its own dual/hybrid nature, each contains its exact opposite, its own negation. Otherwise they would not be oxymorons. Within the very nature of the oxymoron - an essential and fundamental component - is the fact that it coexists with the "other". The "coincidentia oppositorum". Hard/soft. Frafile/solid. Regular/irregular. Discarded/recycled." - Silvana Annichiarico

A collection comprised of one of a kind pieces whose origin is a study of material: as fragile as chalk and hard as marble. The union and contraposition of two different yet complementary elements. Materials that lead to the exploration of the relationship between rediscovery and object. These are the rediscovered forms, ready-made extracts, discovered among a mass of refuse where form is not yet literate. Objects made with focus on white and its various shades: white like archeological finds were once imagined; white like the metaphor of a lost dimension, associated with the symbolic. 
Objects conceived as artifacts retrieved from the future, reunited bodies that have been assembled in order to create a rapport with mankind through new, enigmatic relationships. Votive objects, sonorous objects, visual objects, tactile objects. 
A mirrored object is the very first Oxymoron, because mirrors represent the paramount form of identification while withholding the imaginary nature of the ego.