Meltingme

2005

This is a time-based installation. Each day, frozen ink is cast into letters, the given material slowly being replaced by a trace of the communication with the negative of the letters that forms on the floor, pointing to what was once fleetingly there (from Lisa Le Feuvre text).
Frozen ink melts the letters m and e onto a scroll of paper, eerily painting a portrait of itself in action; a powerful example of time-based work which has immediacy and honesty. The viewer can return to discover a new, changing relationship as the piece evolves (from GX Jacques review).

 

Drawing outlines no 3

Looking for myself

2016

Looking for myself is part of the Drawing outlines series. A recurrent concern in Emanuele’s practice lies in how the body continues beyond its physical boundaries into the space, which implicates a spatial and a social context; an investigation that she undertakes with varied approaches across a range of medium.

Sweeping actions no #1

2017

Framing as choreographic moments, the sweeping and walking actions of the cleaning and security staff inside the Heydar Aliyev Centre by Zaha Hadid – such an extraordinary space in an incongruous place –  Sweeping Actions no #1 juxtaposes the timeless gleaming white hallways and floors of the space with the slow, repetitive and uninspired movements of the working staff that seemingly aimlessly, walk back and forth across the building during opening hours. Defining their walks as lines in space, Emanuele channels these movements as if there was a stage they were rising on.

Sweeping Actions no #1 has been made after a residency at Yarat Contemporary Art Space in Baku, Azerbaijan in 2014; it has been included in A History of Drawing, an exhibition at Camberwell Space that charts the history of teaching and making of drawing at Camberwell College of Arts curated by Kelly Chorpening.

Acts of Presence

2.15 Traffic Island

2017

Part of the series Acts of Presence – 2.15 Traffic Island has been developed in collaboration with writer Alyson Hallett; it is part of a larger body of work that is ongoing. Based on a setup rule: two people acting as one, one can see, the other can hear; taking in what’s happening around in different locations around the city. Internal dialogues and perceptions of the surrounding overriding each other are recorded from memory in post production through a range of means.

 

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

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.

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)

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)

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.

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.