Ilaria Miotto (b. 1995) is an Italian artist who lives and works in Venice. She holds a BA in Fine Art (Visual and Performing Arts) from the Venice Academy of Fine Arts; Miotto is currently studying for an MA at the same Academy. In 2020 she participated in the artist residency in Gad, Venetian Foundation, and later took part in a group exhibition organised by the foundation.  

 

Each work represents a mental dimension consisting of edges and unidentified fragments of almost organic memory. The purpose of Miotto’s artworks is to alter memories; she is particularly interested in the concept of the metamorphosis of identity - of changing from one state to another. 

Mental states and memories re-emerge, evolving from the state of passivity to a state of malignant depravity through trauma and injury and manifest themselves in a cathartic process, in the form of scars and malformations. The layering and stratification of various materials, which we see in the presented artwork entitled Feticcio - an installation piece made of wood and latex - 

adds to the cathartic cycle of  overwriting, erasing the previously left tracks, instead, overlapping the new ones, engaged in the infinite cycle of accumulation.

It is an act of extreme violence aimed at searching for balance; it is an echo, a void left where once resided something that is now transformed and distorted. Time is fluid, and sooner or later, everything resurfaces and is crushed by the stratifications and lacerations. 

Ilaria’s aim isn’t to portray the reality as a solid entity but to instead portray it as a fleeting, fragile concept, underlining that we all have a different reality, and the same events affect us in diverse ways, their legacy permanently imprinted in our psyche. The artist prints these realities onto latex, and if we go back to the definition of the verb to print (to produce (books, newspapers, magazines, etc.), especially in large quantities, by a mechanical process involving the transfer of text, images, or designs to paper), we shall realise that it is precisely what Miotto is doing symbolically: applying pressure and leaving traces of that pressure. 

The world is disturbed and has always been; it intervenes with us perpetually and continuously, sometimes distorting us to the point where it becomes imposs