MATER

The exhibition unites the ancestral sacredness of the Mother Goddess (*Mater*) with the vital fluidity of the Mediterranean. The journey creates an ideal bridge between the recent exhibition at the Academy of Egypt in Rome and the upcoming solo show “MEDITERRANEUM”—scheduled for October 23, 2026, at the Teatro Vittorio Emanuele in Messina—curated by Katia Giannetto with artistic direction by Pippo La Motta.
“The Inner Sea of ​​the Mother Goddess: Between Fragility and Transcendence” — “The fragility of human existence and violence against women drove me to explore new forms of expressive communication to speak out against inequality… Art is my window onto the world, born of an inner transformation and a creative rebirth.” – Rosa Lucia Motta. Rosa Lucia Motta’s artistic inquiry takes the form of flesh, water, and pigment within the historic rooms of the former Palazzo Impallomeni.
1. The Room of Memory and Territory (The Origin)
Focal point: The large-scale work *Frammenti di Noto* (Fragments of Noto) will be dramatically positioned in the center of the grand hall, serving as the visual and conceptual centerpiece.
2. The Immersive Room (The Cry and the Dialogue)
As this was formerly a separate sleeping area, the space can easily be darkened for multimedia projection, while the main walls will display the video *FISH* on a loop.
3. The Room of Rebirth from the Water (Rebirth)
Installation: The emotional climax. In this second, deep-blue room, the water cycle reaches completion. Darkness reigns here, broken only by fluid projections of the sea’s movement and symbols of the Mother Goddess.The Blue Thread of Rebirth: A Dialogue with the Contemporary
When Rosa Lucia Motta’s contemporary art enters this space, a visual and conceptual spark ignites between the stillness of ancient stone and the fluidity of modern art. From Portal to Womb of the World: While the architecture of Palazzo Impallomeni defines a rigid, geometric space, the theme of the Mother Goddess (*Mater*) breaks these boundaries. The palazzo ceases to be merely a historic building and transforms, metaphorically, into an “architectural womb”—a vessel embracing the life, flesh, and pigment of the artworks. The Stone Mask and the Female Condition: The face carved above the portal—a static, silent witness to the centuries—resonates with the artist’s critical commentary on human fragility and her condemnation of gender-based violence. Ancient stone, traditionally associated with patriarchal or monumental power, opens up to host a narrative of suffering, as well as the resilience of women and children across the Mediterranean.
The *MATER* exhibition at the former Palazzo Impallomeni creates a perfect bridge across time: Architectural Element (Ancient/Classical) vs. Conceptual Element (Modern/Contemporary) — The Portal and Entrance (Closed geometric space) vs. The Mediterranean and the Mother Goddess (Fluid, open, infinite space) — The *Mascherone* and Stone Ornamentation (Fixed, immutable e