Chiara Camoni's exhibition - murmur, buzz, hiss and rub
Chiara Camoni's exhibition - murmur, buzz, hiss and rub at Cample Line
5 October – 15 December 2024
Thurs-Sun, 11am-4pm
The exhibition will bring together over 30 works by Chiara, from the monumental to the tiny, and includes three new works - two in ceramic - made using clays, soils and plant matter from Cample and nearby villages.
Chiara is one of the foremost Italian artists of her generation, and she lives and works in the mountain village of Seravezza in Northern Tuscany, Italy.
She has said of her practice: ‘Everything stems from a personal fact – the choice to live in a village in the Apuan Alps – this has become a political choice to some extent.’
Her studio practice represents a commitment to live and work beyond major urban centres and to root the production of her sculptural work in local economies and community processes. Working with friends and family and members of her village, Camoni uses diverse materials, including raw clay, stone, flowers and plants sourced near her home, as the basis for a wide-ranging body of work that has been exhibited extensively internationally.
Chiara has recently said: ‘Much of my work originates at home or in the garden, conditioned by the weather and climate, as well as the surrounding sounds and voices.’
Georgia Massari has referred to Camoni’s work as ‘a dance between ancient knowledge and everyday knowledge, in which nature plays a prominent role.’
Her works combine vernacular, archaic and ancestral forms, often collapsing the boundaries between the human and more-than-human. These concerns have coalesced in her Sister series (2017 onwards) in particular – monumental female divinities, made with thousands of small pieces of hand-molded terracotta, that assume varying zoomorphic and anthropomorphic forms.
Of the Sisters, Chiara has said: ‘they are female figures, but I would say that they encompass a little bit of everything…the masculine, the animal, the vegetable, the mineral…Each has its own bearing, has its own attitude and they ask us for a relationship.’
Chiara has described her exhibitions as assemblies or gatherings of eyes, of figures, of presences, of animals, of insects – ‘some visible right away, other emerging slowly.’
Her work is often attuned to more-than-human frequencies and speaks of dynamic co-presence – ‘moving in the snakes slithering low to the ground, rising in the more vertical figures, winding up and down’.
murmur, buzz, hiss and rub will invoke this world of shared and shifting energy, low hum and living inter-dependence, acknowledging and drawing upon the species richness and diversity found around Cample and as salute not only the history of human presence in the building, but to the spiders, frogs and creatures that attempt to make their home in it, or negotiate it en route to Cample Water.
5 October – 15 December 2024
Thurs-Sun, 11am-4pm
The exhibition will bring together over 30 works by Chiara, from the monumental to the tiny, and includes three new works - two in ceramic - made using clays, soils and plant matter from Cample and nearby villages.
Chiara is one of the foremost Italian artists of her generation, and she lives and works in the mountain village of Seravezza in Northern Tuscany, Italy.
She has said of her practice: ‘Everything stems from a personal fact – the choice to live in a village in the Apuan Alps – this has become a political choice to some extent.’
Her studio practice represents a commitment to live and work beyond major urban centres and to root the production of her sculptural work in local economies and community processes. Working with friends and family and members of her village, Camoni uses diverse materials, including raw clay, stone, flowers and plants sourced near her home, as the basis for a wide-ranging body of work that has been exhibited extensively internationally.
Chiara has recently said: ‘Much of my work originates at home or in the garden, conditioned by the weather and climate, as well as the surrounding sounds and voices.’
Georgia Massari has referred to Camoni’s work as ‘a dance between ancient knowledge and everyday knowledge, in which nature plays a prominent role.’
Her works combine vernacular, archaic and ancestral forms, often collapsing the boundaries between the human and more-than-human. These concerns have coalesced in her Sister series (2017 onwards) in particular – monumental female divinities, made with thousands of small pieces of hand-molded terracotta, that assume varying zoomorphic and anthropomorphic forms.
Of the Sisters, Chiara has said: ‘they are female figures, but I would say that they encompass a little bit of everything…the masculine, the animal, the vegetable, the mineral…Each has its own bearing, has its own attitude and they ask us for a relationship.’
Chiara has described her exhibitions as assemblies or gatherings of eyes, of figures, of presences, of animals, of insects – ‘some visible right away, other emerging slowly.’
Her work is often attuned to more-than-human frequencies and speaks of dynamic co-presence – ‘moving in the snakes slithering low to the ground, rising in the more vertical figures, winding up and down’.
murmur, buzz, hiss and rub will invoke this world of shared and shifting energy, low hum and living inter-dependence, acknowledging and drawing upon the species richness and diversity found around Cample and as salute not only the history of human presence in the building, but to the spiders, frogs and creatures that attempt to make their home in it, or negotiate it en route to Cample Water.
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