Not I aquarium

2005

 Not I cutouts in perspex are filled with ink and water and left to gradually dry out.

Light bulbs

2005

With a simple shift of context and material in this sculpture the functionality of an everyday object is subverted; Light bulbs filled with water and pigment resemble grenades, evoking ideas of spillage and explosions without actually suggesting a narrative.

Melting alphabet

2006/13

Melting alphabet explores the materiality of language in relation to liquidity and movement. Imprints of a gradual process of dissolution the letters of the alphabet gradually disappear onto the page; indexical diagrams of a process and its movements, these drawings are an attempt to give structure to primordial experiences of language, the self and the body.

Water balls

2003

Different size water-filled balls casted in wax were scattered around the gallery space ready to be pick up by the viewer, a caption in the title label suggested the interactivity of the work. ‘The most important aspect of these pieces is their capability to exist as autonomous forms, of having a physical presence that is Euclidean in their geometry, yet precipitate a desire to touch and hold. The subsequent discovery from the external appearance to the hidden interior changes the understanding of the work in a fundamental way’. (Gerard Wilson text)

1 and many concrete balls

2003

The work 1 and many concrete balls was conceived as interactive and it was shown on different days in two different spaces. The former was a small, self-contained room where the spheres constituted almost a solid surface, while in the second room the spheres were scattered in such a way that the experience underfoot carried more a potential of hazard. The resulting echoing sound produced by the crashing of the spheres completely altered the perception of the space (from Gerard Wilson text)

Stage plan drawings

2014

Approaching the empty page of a black hand-bound book as a stage, Stage plan drawings reproduces in the form of graphic drawings, developed from choreographic Banesh notations, dancers’ patterns and formations for Tchaikovsky’s Nutcracker and for Britten’s Young Apollo. The viewer is invited to browse the book whilst listening to the recorded sound of dancers ‘steps on stage. An interplay between public and private spaces is at play in the display of the work: from the public moment of a performance to the singular act of reception of the viewer in the gallery space, back to the public as an online digital format for the book; here the singularity of reception is preserved via the one to one encounter of the work on the computer screen.

Stage plans is an artist book (hand-bound book courtesy of Denise Hawrysio) and sound installation, originally conceived for Book Act a project by AMBruno for the exhibition at The Tetley in Leeds, it was shown with Graphic Traces installation for acts/reacts 2014 at Wimbledon Space.

Stage Plans digital version

Balancing beam

2001

An interest in movement and communication is already apparent in Emanuele’s earlier pieces. Working with ideas of balance balancing beam is informed by Emanuele early experiences in gymnastic and dance. Painted in two contrasting colors, the object with a strong formal presence is displayed as an interactive sculptural piece and the viewers are invited to walk on it.

Formations

how gestures make space

2016

Formations, a participatory project based on a circular walk around Peckham, exploiting strategies of repetition it explores drawing as a performative and temporal act. The project saw the participants covering a diverse range of the area, engaging in different activities through a system of rule-based instructions. The event took place over four weeks, facilitating participation and interaction with the local community.

Week 1 – Walking, drawing, looking & seeing

Week 2 – Walking conversations

Week 3 – Observation, repetition, enactment

Week 4 – Walking lines

Walking lines, the final performance saw the participants tied together with resistance bands walking along an agreed route. Negotiating inter-relational dynamics and surroundings, individual journeys shift and adapt to the group dynamics.

Open 16 – How gestures make space

Drawing outlines no 2: Where do I end and you begin?

2017

Drawing outlines no 2 – Where do I end and you begin? Posing this question right at the start of the perfomance Emanuele continues her exploration of inter-relational boundaries; three dancers are tasked to define their own outlines whilst moving; negotiating their individual space with space of the other, the dancers are confronted with the impossibility of never being able to complete the task.

Drawing outlines no 2 – Where do I end and you begin was presented as a Live Performace for Draw to Perform 4 at Fabrica Gallery in Brighton in March 2017 with the participation of dancers Natasha Hubert, Gina Jamieson, Callum Anderson

Images courtesy of Manja Williams at DTP

Photocopier & spinning tops

2002

A photocopier, spinning tops and A 4 paper are the materials for this installation. Ideas of balance and perpetual motion are expressed through repetition and accumulation. Repeatedly recording with a photocopier the fleeting movement of balance of a spinning top whilst it spins, indexical marks of the balancing movements. Photocopier & spinning tops invited the viewers to become active participants of the work making photocopies themselves. A playful interplay between differing modes of perception of the work: participation and conceptual understanding.

Emanuele has recently revisited this work and is currently in the process of producing an artist book with the drawings, offering permanence to a fleeting moment.