2010
Brine buckets is a video installation created for Articulating Change Emanuele solo show at StoneSquid in Hastings. Projected onto a watery and salty surface the videos action one & two float inside the two metal buckets. The projected surface having the consistence of dried out sea water at time reveals other conceals the projection, whilst a salty surface is displayed above the buckets.
2015
Originally realised for WhiteNoise, Post-it notes dance is Emanuele’s inventive response to the use of stationary material during her collaborative residency. The capacity to activate materials in innovative and performative ways is apparent throughout Emanuele’s practice, in WhiteNoise the material migrates into a performative gesture. The post-it notes become the Post-it notes dance, a piece where Emanuele obsessively attempts to free herself from their stickiness; a powerful metaphorical gesture that resonates with meaningful associations.
push & pull
2009
The site-specific video installation action one & two created for the exhibition Uncharted Stories at the Triangle Space at Chelsea College of Art, responded to the space by using the narrowest corners of the gallery to create a mirroring projection of two actions performed for the camera. Action one represents a macro-vision of a transparent and jelly material that looks like a micro-world of cellule-like forms, attempting to pull each other apart; action two shows a female subject blowing to exhaustion into the same type of material, the more she blows the more she distorts the reflection of herself. Looking in and looking out, action one & two negotiate a space between the self and the world around.
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.
2012
Wall # 1, # 3, # 5 and # 6 are a part of a series of images titled Facades. Digitally manipulated photographs revel the interior walls of a knocked down building in an initial stage of restoration. By erasing it’s surrounding the building is taken out of context. The suspended walls becomes a sort of theatrical setting at once interior and facade; acquiring an iconic sense of sacrality, which reveals the power and vulnerability of the process exposed.
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.
rebalancing the self
2010
2008
Shot over a 12-hours period, from dawn to sunset the video Honey is an edit version of the film in real time. A gradual and continuous change of the world map unfolds beyond our eyes as an ever-growing number of ants approach the drawing to its complete disappearance.
2007
Milk font/Milk vessel was born as a site-specific response to the Florence Trust Residency. It appropriated the iconography of the architecture at Florence Trust by filling the church font not with holy water, but with a rich, thick, velvety white liquid that evoked an eerie sense of timelessness. The work was consequently adapted for a gallery context and titled Milk Vessel, where the video was projected into an ice container.
2007
One of thousands was created as a site-specific response to the Florence Trust Residency; composed of a video installation projected inside a narrow alleyway underneath the church organ and an additional sound piece, which was playing from above next to the organ and in other areas of the church. The particular positioning of the video encouraged an intimate and contemplative engagement with the work, whilst the sound playing from above created a disruption between moving image and sound.