Site-specific installation situated inside the former painter’s studio of the Romanian Academy. Consisting of circa 300 unfired clay tiles, the installation invites the audience to walk on and take part in the artwork’s life and change. The project is a remake of an artwork Studio del Fragile created six years ago, now seen through the lenses of my new research practice. It is the fourth case study of the methodology:

Sustainable Art Practices: Towards a Socio-Ecological Methodology Within Site-Specific, Land, and Installation Art.

It questions normative artistic approaches, focusing on the use of local, sustainable materials, vernacular tools/techniques, and community engagement through workshops. Sustainability must be an integral part of the creative process, with site-specificity as the core, involving a comprehensive understanding of the local environment, history, and identity.

During the project at the Accademia di Danimarca, the production of the artwork focused on the use of local resources, such as clay, retrieved from sites close to Rome and Tarquinia. The building process and the retrieval of material involved the participation of multiple people among local ceramicists, other residents of the Accademia di Danimarca, residency staff, and friends, making it a communal process. The support of several local figures was crucial to the success of the project.

Deep gratitude to the ceramist Marco Vallesi, Fornaci DCB for supplying clay, Francesca and Eleonora for helping with the material, Accademia di Romania for facilitating the process, all the people who joined the production and assisted in creating the installation, and the Accademia di Danimarca team for their support throughout the project.

Site-specific installation situated inside the former painter’s studio of the Romanian Academy. Consisting of circa 300 unfired clay tiles, the installation invites the audience to walk on and take part in the artwork’s life and change. The project is a remake of an artwork Studio del Fragile created six years ago, now seen through the lenses of my new research practice. It is the fourth case study of the methodology:

Sustainable Art Practices: Towards a Socio-Ecological Methodology Within Site-Specific, Land, and Installation Art.

It questions normative artistic approaches, focusing on the use of local, sustainable materials, vernacular tools/techniques, and community engagement through workshops. Sustainability must be an integral part of the creative process, with site-specificity as the core, involving a comprehensive understanding of the local environment, history, and identity.

During the project at the Accademia di Danimarca, the production of the artwork focused on the use of local resources, such as clay, retrieved from sites close to Rome and Tarquinia. The building process and the retrieval of material involved the participation of multiple people among local ceramicists, other residents of the Accademia di Danimarca, residency staff, and friends, making it a communal process. The support of several local figures was crucial to the success of the project.

Deep gratitude to the ceramist Marco Vallesi, Fornaci DCB for supplying clay, Francesca and Eleonora for helping with the material, Accademia di Romania for facilitating the process, all the people who joined the production and assisted in creating the installation, and the Accademia di Danimarca team for their support throughout the project.