Love never satisfies me

The artist’s name is her legal name, chosen by her father as a tribute to Gaston Bachelard’s The Poetics of Reverie. Her practice, spanning performance, sculpture, writing and moving image, explores mental health, desire, solitude and contemporary forms of intimacy. Drawing from her own lived experience, she exorcises the lives we all inhabit today. Since 2023, she has been developing the theme of the collective ritual, which she brings into this exhibition through three central themes: hunger, love and death. Amare non mi sazia brings together sculpture, poetry, sound, moving image and performance, transforming experiences of dependency, isolation and desire into a visceral, material language. Animal matter, bodily fragments, domestic objects and contemporary technologies of intimacy become parts of a fragmented anatomy in which vulnerability, appetite, control and desire continuously collide. The exhibition is accompanied by a critical essay by Milovan Farronato, written in the first person and inhabiting the artist’s voice. “I confess to having desired love in the way one desires an addiction, a relapse, a body to consume or by which to be consumed. I confess to having transformed pain into language, language into image, image into relic.” The text deliberately blurs the boundaries between autobiography, fiction and critical interpretation, transforming confession into a space of ambiguity and performance. Among the works presented are a bovine tongue pierced by acacia thorns cast in green bronze; ceramic spiders bearing the imprint of a bovine stomach; moth cocoons pinned to the seats of a small car; a bronze bust held by a metal collar; and a foal’s skull altered through a bit and held open by a 10 kg kettlebell. In Luna, a modified 1970s streetlamp contains six hours of voice messages sent over several months to men encountered through dating apps. In the silent video Sentimental Education, Reverie and a transgender sex worker meet inside a short-stay hotel, their conversation unfolding entirely through gesture after the sound has been removed. Amare non mi sazia presents a body that is excessive, vulnerable, ironic and perpetually hungry. Like everybody’s body. No one excluded.