![bare bones bare bones](https://www.premioceleste.it/indi/_pics/4/6/2016-98904-398697_34606_4565_t.jpg?m=1481892853)
Core
![Embodiment Embodiment](https://www.premioceleste.it/indi/_pics/2/2/2016-98904-73272_32296_41265_t.jpg?m=1481857970)
Embodiment
![Embodiment Embodiment](https://www.premioceleste.it/indi/_pics/2/2/2016-98904-73272_32296_4565_t.jpg?m=1481857970)
1. I first lay down on the floor a sheet of BFK Reeves paper. 2, I spread a layer of charcoal powder onto the back of one of my T-shirts and tights. 3. I put on the charcoal-dusted clothes and lay down on the paper, spreading the charcoal powder onto the paper by moving my back in ways inspired by The Alexander Technique. 4. I repeated the same process, but instead of employing charcoal, I used a brush to spread a layer of white acrylic paint onto my clothes. The white paint got stained with the charcoal. 5. When the paint on the paper had dried, I lay down naked on the paper again. Using a red marker and pencil, and both of my hands, I roughly outlined myself while moving my body. 6. In my sketchbook, I did a number of graphite and charcoal pencil studies of the human skeleton from images in anatomy textbooks. I focused on the shoulder girdle, because I was experiencing pain in this region. 7. I drew the shoulder girdle on the image of my body using graphite and charcoal pencils. To assist me, I used a mirror, my study sketches, and tactile clues: I drew while touching my shoulder.
![I cary my father's memories in my bones I cary my father's memories in my bones](https://www.premioceleste.it/indi/_pics/7/9/2016-98904-72686_17974_41265_t.jpg?m=1481599316)
I cary my father's memories in my bones
![I cary my father's memories in my bones I cary my father's memories in my bones](https://www.premioceleste.it/indi/_pics/7/9/2016-98904-72686_17974_4565_t.jpg?m=1481599316)
How we carry ourselves not depends only on how phisically gravity supports us, it also is a result of how we connect with our memories, to our familial history. Last month I just came back from Sombor, a town in the province of Voivodina, Serbia. It is my father home town. He spent there the first nine years of his life. This is the town from which he was deported to Auschwits. I am working on understanding how his personal story affected the way I carry my self through life.
Other works
![blind contour spine drawing blind contour spine drawing](https://www.premioceleste.it/indi/_pics/1/7/2016-98904-66999_11747_41265_t.jpg?m=1477846263)
blind contour spine drawing
![blind contour spine drawing blind contour spine drawing](https://www.premioceleste.it/indi/_pics/1/7/2016-98904-66999_11747_4565_t.jpg?m=1477846263)
I spread Naples yellow acrylic paint on a BFK paper. When the paint dried I lay on my back on top of the paper. I then traced my shoulders and neck by moving china markers along my shoulders. Then I held two small pieces of red china markers, one in each hand. I moved my hands along my spine, touching each vertebra and marking the process at the same time. I teach drawing, I realize that this is a perfect example of blind contour drawing.
![liquid imprint liquid imprint](https://www.premioceleste.it/indi/_pics/3/5/2016-98904-65677_13579_41265_t.jpg?m=1475622499)
liquid imprint
![liquid imprint liquid imprint](https://www.premioceleste.it/indi/_pics/3/5/2016-98904-65677_13579_4565_t.jpg?m=1475622499)
I first lay down on the floor a sheet of BFK Reeves paper. I spread a layer of charcoal powder onto the back of one of my T-shirts and tights. I put on the charcoal-dusted clothes and lay down on the paper, spreading the charcoal powder onto the paper by moving my back in ways inspired by The Alexander Technique. I repeated the same process, but instead of employing charcoal, I used a brush to spread a layer of white acrylic paint onto my clothes. The white paint got stained with the charcoal.
bare bones
I am writing as the deadline for submitting the work is looming. I want to thank the opportunity I got from Celeste Network to explore my new project in a safe and supportive environment.The journey I had embarked on for this project turned out to be a personal and reviling one.
In September I started to investigate the universal mind-body dichotomy. I was interested in the correlation between the Material body and the Idea of the body, in the collision and collusion between perception and experience.
I chose to explore the theme through visual investigation of my own body, as I started experiencing pain in my spine. I have come to realize that in order to achieve the sense of physical freedom in my daily movement I have to understand the particularity of my skeletal structure, and that for a holistic 'understanding' of the material body both the experience and the perception of ones own body are necessary.
Hence my work combines experiential tactile approaches with more analytical scientific ones; some drawing are studies from scientific anatomy books, and x-ray images of my own spine, others are blind contour tactile drawings and imprints of my concrete body.
In November I had a profound experience that changed the course of my work. I was invited to visit Sombor, a town in the province of Voivodina in Serbia. It is my father home town. He spent there the first nine years of his life. This is the town from which he was deported to Auschwits. The town commemorated the story my family through an exhibition, there I found the deportation card of my father.
Upon my return I began to explore the correlation between the body and memory, examining how the collective memory and familial history affect the body. In 'I carry my father's memories in my bones' I am working on understanding how his personal story affected the way I carry my physical self through life.
while working on this piece I found myself in a heavy somber mood. The works ' skeletal an visceral' and 'felt sense in a good day ' are a lighter antidote to that.
The deadline for this project does not indicate by any means the end of my thematic journey. I am looking forward to exploring the body in movement with a time base technology, as I gain clarity around the notion of 'fixing' and 'aligning' our body to still position- there is no real stillness in life, we are always in flux.
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