Lucrezia Bracci

Marrow Molecule
The Back Carries all the Weight
Running Dancer
Dinosaur in a Vacuum
Big Core
Alien’s Telephone
Lucrezia Bracci | The Artist

The figure has consistently been the guiding stream to transform existential thoughts into material forms, in order to create a metaphysical place of experience. The body is the self, and it perceives the world through the senses, which affects the way an individual relates to the external world. What we experience is dictated by the way our body responds to the information received from the senses. It is through the self that the phenomenology of art is able to evaluate the realms of the physical and the conceptual. The word phenomenon can be defined as an object known through the senses, rather than by thought or intuition. The experience created by an object within the individual, is what I have been exploring through the creation of my work. During my BA, I found myself interested in body casting techniques, as well as the role of scale in sculpture more specifically the phenomenological qualities that come with large scale artwork. The process of material metamorphosis started by obtaining a body cast and transforming it into a shape the viewer can subconsciously grasp but cannot visually make sense of. By transforming body parts into an almost abstract object, I could simultaneously instill a sense of familiarity and mystery within the viewer. As well as transforming the shape of body parts, I felt the need to play with scale as part of this transformation, usually tending towards upscaling. The playful use of scale and the strive to create metaphysical places of experience, enhance the abstract quality and further alienate the optical perception of the forms.

After finishing my BA, I started an artistic residency in Portugal. This meant adapting my making process to a new studio environment, without the materials and resources I previously worked with. At first, this felt limiting, however it created a fresh approach on how to convey artistic thoughts. The figure remains the protagonist, but I no longer use body casts as a starting point to achieve a form. This led my work to become visually alienated from the real figurative forms we are transcendentally familiar with.