In the first room sits the Untitled sculpture series, obtained through the raku Japanese technique for ceramic. The apparent spontaneity of shapes, inspired by natural con- cretions of shells and lava rock, grows when, to a closer look, the notches on the works turn out to recall the volumes of proportions of the artist’s body. Conceived as devices of vision, the sculptures are inviting to be explored by gaze as if they were environments. In the second room sits the curtain/sculpture Cleo, kept on the ground by three asleep heads, obtained through the ancient technique of scagliola carpigiana. Drawn after a cast of the artist’s face at 17, the sculptures are a mark from a faraway time, symbolising and crystallising a key moment in her life. Though deriving from two techniques that lay their tradition in the 16th Century, Cleo Fariselli uses raku and scagliola free from any rhetoric, as a key to explore a personal and contemporary imaginary. Closing the exhi- bition there’s Edda: a sculpture/installation in four parts depicting a mysterious water creature that seems to be rising from the floor, making it ideally liquid. As if it were the tip of the iceberg, the artwork reverberates beyond its visual limits, raising the impression of a hereinafter indefinitely extended in the underground. At the entrance, a text written by the artist guides the viewer through the visit, preferably to be conducted alone.

In the first room sits the Untitled sculpture series, obtained through the raku Japanese technique for ceramic. The apparent spontaneity of shapes, inspired by natural con- cretions of shells and lava rock, grows when, to a closer look, the notches on the works turn out to recall the volumes of proportions of the artist’s body. Conceived as devices of vision, the sculptures are inviting to be explored by gaze as if they were environments. In the second room sits the curtain/sculpture Cleo, kept on the ground by three asleep heads, obtained through the ancient technique of scagliola carpigiana. Drawn after a cast of the artist’s face at 17, the sculptures are a mark from a faraway time, symbolising and crystallising a key moment in her life. Though deriving from two techniques that lay their tradition in the 16th Century, Cleo Fariselli uses raku and scagliola free from any rhetoric, as a key to explore a personal and contemporary imaginary. Closing the exhi- bition there’s Edda: a sculpture/installation in four parts depicting a mysterious water creature that seems to be rising from the floor, making it ideally liquid. As if it were the tip of the iceberg, the artwork reverberates beyond its visual limits, raising the impression of a hereinafter indefinitely extended in the underground. At the entrance, a text written by the artist guides the viewer through the visit, preferably to be conducted alone.