Giulia Cacciuttolo (1991) was born in Rome and began her artistic career at the Academy of Fine Arts in Rome before moving to London and continuing her education in Painting at Wimbledon College of Art, later obtaining an MA in Visual and Performing Arts at Central Saint Martins (London). She has received several recognitions - such as the Mona Hatoum Bursary, the MiAL&METRO Mentorship and the DLA Piper Mural Commission – and has participated in exhibitions, both collective and solo, in several European countries. She currently lives and works in London.


Giulia's practice starts from analogue photography that becomes integrated into her installations through interaction with materials of different nature and various kinds of supports. The photography, however, is never presented in its original and trivial form, although it is central to the practice of Giulia Cacciuttolo, who does not define herself as a photographer but delineates photography as her primary means of expression, a starting point rather than the result.


The final rendering of the work remains unknown to the artist until its formalization since Cacciuttolo constantly experiments with different materials and techniques. Working with the concept of memory, heritage, past, both collective and intimate, the artist has always felt attracted by translucent and semi-transparent materials, malleable and superimposed, which allow a transversal reading of the different layers that the artist creates.


The work presented at the Fair is an exceptional piece, as Giulia usually works with black and white photographs and analogue Matrix. In this case, the artist wanted to experiment by taking a digital archive, created after travelling to Japan as a base for the artwork, playing with colour modification in post-production. The piece is also linked to the concept of landscape, and in some way, the artwork itself becomes an archive of memories of the communities that experience them. 


The cast that pins the printed image onto the ground is a fundamental element in the artist's practice. As well as photography, Cacciuttolo sees the possibility of collecting palpable traces of organic objects as she gathers the visual material. 


The interpretation of the artwork remains open to the public, projecting its experience and its legacy of the Memory Archive. It lingers under the veil, material and conceptual, which never allows for a fixed reading of the figures that the artist wanted to investigate, leaving the apprehension of the artwork to the audience.


Text by Milena Zanetti


Conundrum, 2020