Rossana Borzelli

The result is a new profile, a new identity often enriched by phrases or poems that connect with the woman's experience. There is a Dora Maar portrayed with two different halves of her face. One half represents how Picasso portrayed her and half of the face as she was, beautiful. Frida Kahlo with a hand over her heart, Rossana's, a strong gesture of protection and understanding. A very powerful Seraphin Louis, flooded over the eyes with a cascade of red, the subversive and provocative Gertrud Arndt with a cage over her face, Tina and Frida in the same position, sprinkled with words and with their eyes full of their names, and finally a self-portrait on individual thought. The artist, with extreme delicacy, makes giants of these women who have been considered so small in history. He does this through these silhouettes at least two metres high and one and a half metres wide. One cannot help but feel the presence of these works of art in a room. They impose themselves and look at you, they are alive and full of their lived experience. Rossana tries to give them back the space they would have deserved when they were alive.

Art Curator Irene Mannarino