In Western culture, matter is conventionally perceived as inert and passive, in stark contrast to the creative power of Idea that molds and shapes it. Nevertheless, several philosophers have championed its inherent vitality. For Spinoza, for instance, each body is characterized by its conatus: an impetus towards self-preservation and the fulfillment of its own nature. This transforms matter into an active body, desiring alliances, in a continuous interplay of affects and affections, coexistences, and frictions. The love referred to in the exhibition’s title, therefore, has no romantic subtext but should be understood as a physical force that shapes bodies and suggests relationships.
Challenging our expectations through perceptual manipulations, Sara Enrico blurs the boundaries of closeness and distance with the Other. Her soft and sinuous sculptures, though actually heavy and dense, strike a balance between the familiar and the disquieting. They captivate with their intrigue yet provoke discomfort, almost to the point of repulsion, as they unveil their distinctive anatomical forms.
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The sculptures thus become cyborg bodies in a dialogue between the inorganic and the biological, representing a reconfiguration of the self in contact with otherness- a wellspring of both fears and curiosities.
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The world depicted in Sara Enrico’s works is a cosmos of relationships and frictions, where the boundary between figuration and abstraction speaks of evolving bodies and contamination between body design and object design.
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The exhibition is produced by OGR Torino with the support of Fondazione Sviluppo e Crescita CRT.
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All the installation views: Andrea Rossetti for OGR Torino
