Camilla Cerioni's artistry is interdisciplinary, and she uses sensory experiences in a process that begins by making phonetic languages abstract where body movements, imagery, and music are random and interconnected She is fascinated by the Nordic environment, where there is a visible correspondence between the energy of nature and grand expression.
The work addresses internal/external, visible/invisible audiovisual language in which the painter's movements are connected to those of the conductor/composer Within a delicate natural environment, I create contrasts between two perceptual dimensions The work's improvisation is the process of consciousness closely related to the artwork and the viewer By experiencing the invisible, other and new senses can be discovered.
My research methods are derived from ideas of empathy, through an interdisciplinary approach with the constant fluctuation of sound and movement the senses are involuntarily stimulated through the creative process In such a space I get a sense of being alone with nature, the artwork seeks to nourish the senses and the mind and evoke our network of times with nature My goal is to touch and nurture deep emotions that through empathy bring people closer to each other, which is contrasted with the empty feeling created by navigating through social media posts The range of my works is recordings in nature and inner experiences.
In a society where fewer and fewer profound thoughts and memories are shared among people, the importance of sharing emotional experiences of art, literature, and history is increasingly important In societies of the past, the oral traditions of myth or ancient songs were essential to the social development.
The acoustic atmosphere creates the possibility of reimagining the world today Stimulating the migration within contemporary relationships from ignorance to knowledge creation, from the influence of the technological world on the individual to the influential connection with nature.
Camilla Cerioni's art works are interdisciplinary using sensory performances, starting from the abstraction of sonic languages where body movement, images and music are interconnected and mutually content. She is established by Nordic sensitivity where strength of nature and powerful expression are managed.
The work addresses inner/outer, visible/invisible sonic and visual languages, where the gestures and the movements of the painter are connected to those of the music conductor/composer. I would like to create a sense of politics between these two dimensions of our perceptions within sensitive natural environments. The improvisational part of the work focuses on awareness as a process of ultimate contact between the work and the experience, reaching beyond what can be seen, in order to discover other senses.
My research methods stem from ideas of synaesthesia, an interdisciplinary approach, being intuitively stimulated by the senses and then repeated in a perpetual motion of sound and movement. During the process of creation I think of a space that made me feel at one with nature.
The artwork sees to nourish both senses and the mind and to elicit a nexus of our time and nature. My aim is to touch and nurture gene emotions to bring people closer empathetic, as opposed to the empty feeling one gets from scrolling through social media posts. The sonorities of my work are composed of recordings in nature and inner experiences of gentle approaches of gentle approaches of gentle approaches.
In a society where few things and memories are explained, the event of sharing feelings felt by experiencing art, literature and history is important. As in old societies the orality of myths or ancient songs is necessary for community development.
Creating sonic atmospheres allow a re-imagination of the world we live in now and stimulates the transition from ignorance to knowledge in the contemporary dialogue between deep relationships with nature and absorption of the individual by the technological world.
The work in pictures.