work
Casa mia, Casa tua
| category | Installation |
| subject | Political / Social |
| tags | nonni, sanremo, Tony Cragg, audio, casa, cucito |
| base | 38 cm |
| height | 78 cm |
| depth | 34 cm |
| year | 2024 |
"Casa mia, Casa tua" was born from the attempt to break out of the canvas, seeking new solutions through the use of multiple media. The first layer of stratification in the work begins here: from the different levels within the concept of the piece itself, combining audio and visual elements. This stratification continues and takes concrete shape in the artwork thanks to the influence of Tony Cragg’s *Stack*.
The audiovisual sculpture, in fact, is structured as an unstable yet solid stratified column. The most disparate objects create this unstable column — from the gift box at the base, the famous Harmony romance novels, lace centerpieces, flower vases, dishes, cross-stitch and cooking magazines, to cushions and beaded necklaces. These objects all have one thing in common: at some point, we’ve all seen them at our grandmother’s house.
At the top, there is a display case containing spools of sewing thread of various sizes.
The installation is completed by an audio track - 8 minutes long and played on loop - where distant voices (elderly women’s voices) can be heard, alternating with the sound of a sewing machine.
The structure, as intended by Tony Cragg — a cross-section reminiscent of geological layers — is reinterpreted and made one’s own here, by adding elements that give it verticality, and others that stick out from the "column" like decorations.
The key element was that all these objects be compressed into a small space — just like our memories.
The title of the work refers to a song (Casa Mia by Ghali), where the artist questions the concept of space and home: “Casa mia, casa tua, che differenza c’è? Non c’è.” (“My home, your home, what difference is there? None.”)
Thus, the piece, from the evocation of distant memories and the assemblage of objects common to everyone, becomes a dialogue with other cultures, with other homes - a kind of present in which the past and where we come from are immediately visible.
The audiovisual sculpture, in fact, is structured as an unstable yet solid stratified column. The most disparate objects create this unstable column — from the gift box at the base, the famous Harmony romance novels, lace centerpieces, flower vases, dishes, cross-stitch and cooking magazines, to cushions and beaded necklaces. These objects all have one thing in common: at some point, we’ve all seen them at our grandmother’s house.
At the top, there is a display case containing spools of sewing thread of various sizes.
The installation is completed by an audio track - 8 minutes long and played on loop - where distant voices (elderly women’s voices) can be heard, alternating with the sound of a sewing machine.
The structure, as intended by Tony Cragg — a cross-section reminiscent of geological layers — is reinterpreted and made one’s own here, by adding elements that give it verticality, and others that stick out from the "column" like decorations.
The key element was that all these objects be compressed into a small space — just like our memories.
The title of the work refers to a song (Casa Mia by Ghali), where the artist questions the concept of space and home: “Casa mia, casa tua, che differenza c’è? Non c’è.” (“My home, your home, what difference is there? None.”)
Thus, the piece, from the evocation of distant memories and the assemblage of objects common to everyone, becomes a dialogue with other cultures, with other homes - a kind of present in which the past and where we come from are immediately visible.
