LUDOVICA GIOSCIA

The Infinite Present is my new non-linear modus operandi, which I adopted in 2016.

Examples of various types of installations, including the Giant Decollages and Debris series.

This series stems from the layering of two collections: the make-up advertisement and the magazine clippings archives, which span more than fifteen years. The result of the collision between the two archives is the Soft Power portraits. In these, inverted beauty and the fascination with destruction applied to the body, as described in J.G. Ballard’s novel Crash, are forced to collide and form a romantic alliance.

The Giant Accessories borrow and elevate elements from other series, such as the wallpaper sculptures and Debrocks.

Made out of battered Ikea table tops the Incorporation series was born in 2013.

This section houses wallpaper works created as a by-product of the Giant Decollages or from the debris of the latter

Inspired by the overblown luxury of the tiger economies—super displays, department stores and retail anthropology—the Campscapes are child-scale, flat-pack architectural model-like assemblages.

The Debrocks have evolved from a previous line of enquiry: the Wallpaper Sculptures. The aforementioned are three-dimensional structures created from paper.

This photographic series is a very recent development in my practice and arose from experimentation whilst making bodily-like excretions in plaster for the Incorporation series.

The Vomitoria are an ongoing series of self-vomiting wooden sculptures that I began in 2009. They are inspired by the bingeing practices of the Romans who used to overeat and then relieve themselves in order to eat more.

For years I have been collecting all sorts of things that help me unravel our complex relationship with consumption. I organize my hoardings into archives, each one of them focusing on a specific topic or research.

This section hosts works that currently do not belong to a series.