The Pitter-Patters

Visually reproducing the sound and vibrations obtained by the fall of a metal object on a hard surface under water, like a pin in a pool, or a pebble in a pond; that of drops on a body of water, their extent softened by the sandy or muddy bed; and a drop on a hard surface, such as a window pane, and its transient nature

Can you briefly introduce yourself and your artistic practice? What steps did you take to become the artist you are today?

I am an eco-artivist, an activist for ecology through art. My activism permeates every aspect of my life, not just my art. I am vegan, I dress second hand, use only renewable energy, refrain from flying, strive to avoid plastic, and have a small vegetable garden that I'm gradually learning to cultivate. It's a daily discovery of how to live more sustainably.

Art is not only my passion but also my profession. I create art exclusively from waste materials, often using the waste from my clients. Whether it's an office in the City of London, a school, or an institution, any waste is welcome. Most of the time, this waste can be transformed into small tiles that I then use to create mosaics.

Can you tell me more about how you enjoy working within the ethical and material limitations you've chosen to impose on your creative process? What is it about navigating these constraints that inspires and motivates you as an artist?

I love making do; I find it not only the most eco-friendly way to conduct my practice but also the ultimate, most stimulating way to use our creativity to the fullest.

I cherish the challenge of turning trash into treasure and, even more so, the wonder in viewers' eyes. This wonder signals that a new journey through open conversation, inspiring exchanges, and insightful discoveries is about to begin.

What motivated you to apply and participate in this online program? What were your initial goals and expectations?

I had already met Joana for an interview earlier in the year and truly enjoyed her approach to art, nature, and life in general. Thanks to her, I was introduced to some exceptionally interesting artists with whom I felt refreshingly akin. Ever since, I eagerly joined the IOAEA network. I felt that a residency with IOAEA was a great fit for me, and an excellent way to deepen and expand these connections within a like-minded community.

Can you tell us more about the project you worked on during the program? What was the theme or focus, and the mediums used?

Following my residency at the Institute of Marine Sciences in Venice, I continued my dialogue on the state of our seas and the urgent need to protect this ecosystem, which is crucial to our survival. I experimented with ways to make people sympathize and empathize with our waters and the world within, aiming to create an immediate connection through beauty and using familiar, everyday objects.

I created two main bodies of work. The first, "Metabarnacles," is the initial piece in a series made entirely from waste, mainly plastic on wood. This piece represents the millennial chain of changes that trees undergo, from wood to petroleum, and finally to plastic. I am truly fascinated by this oxymoron of the plants' existence, becoming in time their own waste and nemesis, highlighting the weight of human intervention in this subversive act of creation and destruction.

The second body of work is "The Pitter-Patters," an aquatic series where I visually reproduce the sounds and vibrations created by various objects interacting with water. This includes the fall of a metal object on a hard surface underwater, like a pin in a pool or a pebble in a pond, as well as the fall of water drops on different surfaces, such as a body of water, a pond with a soft muddy bed underneath, or a smooth surface like a leaf or a windowpane, and its transient shapes and presence.

You mentioned that by using found materials you are extending the legacy of the materials and artworks beyond their initial creation. Can you explain this a bit more?

Hoping to make people change attitude towards waste, and a disposable lifestyle in general, by making them see the value and potential intrinsic to each item already in existence. 

Can you share an example of how you and your fellow artists inspired or learned from each other during the collaborative process?

I cannot stress enough the level of inspiration I received from each member. I found everyone’s focus of research really interesting and stimulating, which made me want to incorporate aspects of their work into my own research and project.

For this project, Rebecca inspired me to centre the Pitter-Patters around ponds and rivers, recalling her world of mystical wells and inherent creatures. Kenny opened my eyes to their arrangement, demonstrating how spacing them on multiple planes could add a significant layer of pathos. David, on the other hand, provided me with the soundtrack and most of the latest scenography in my head, which I will certainly develop further. I truly feel that the Pitter-Patters have been greatly shaped by this collaboration. Not to mention the bonus of following Kenny’s residency in Madeira live! And this is true about all of us too: an online residency allows you to also somewhat live in someone else’s shoes for the whole of its duration, as you get to share the progress we each live within our lives, albeit in the same profession, in such different environments and media. I enjoyed that very much.

I grew very fond of each member of the group, and I am truly grateful to Joana for the opportunity to meet them, as I admire each one of their practices. But even more, I am grateful to each one of them for their kindness, patience and generosity, and I hope we will keep being a part of each other’s lives.

If you could give one piece of advice to future participants of this program, what would it be?

Enjoy it and embrace it fully, make it the beginning of new, inspiring relationships which is likely to extend beyond the mere 6 weeks and lead to long-lasting connections within a supportive, informed and stimulating platform of like-minded artists. 

Find more about the artist here.

See the immersive virtual exhibition here.

All images courtesy of Francesca Busca.

Cover Image:

Pit, 2024. 100% waste: : leftover fabric, part of an old duvet cover and used hairdresser’s foils. 21x21cm