Serie

INtima

The INtima series explores the female body as a site of sensory resonance, transforming its presence into an emotional geography.

Through reliefs, cavities, warm fissures, and cool surfaces, the sculptural work becomes a territory to be traversed rather than observed—a landscape that invites a slow, tactile, almost breath-like perception.

Intimacy is not displayed, but emerges as a subtle vibration, like an echo that lives “under the skin” and expands into the material.

INtimate Topography (1, 2, 3)

INtimate Topography (1, 2, 3),The body opens up to a more cartographic reading. The reliefs take the form of sensory maps, where curves, cavities, and fracture lines draw an abstract erotic landscape.

Each work in the trilogy INtimate Topography (1, 2, 3) investigates a different way of perceiving the female body: not as anatomy, but as a warm, pulsating territory, traversed by subtle energies.

In this balance between abstraction and sensuality, the sculpture offers a reflection on how we perceive the female body: not as an image to be deciphered, but as a territory to be felt.

The ceramic material, with its white surfaces and colored cracks, becomes an atlas of intimacy.

Each work represents a stage in a sensory journey, where the ceramic material becomes a map, skin becomes memory.

INtimate Topography 1

INtimate Topography 1

7.48 x 15 in

INtimate Topography 2

INtimate Topography 2

7.48 x 15 in

INtimate Topography 3

INtimate Topography 3

diameter 15.75 in

  • INtimate Topography 1
  • It presents an abstract fragment of a female torso, translated into a language of soft reliefs and organic forms. The two central cavities, similar to pulsating nuclei, emerge from a white surface modeled as a sensory landscape. The warm hues emerging from the cracks evoke bodily warmth, tactile memory, and a living presence.
  • The work invites the observer to a slow, almost epidermal reading, where the body is not represented directly but suggested through vibrations, curvatures and material stratifications.

  • INtimate Topography 2
  • It presents an abstract fragment of the female body. The lateral curves, similar to dunes or sensory hills, create a balance between softness and tension. The ceramic material thus becomes a territory to explore.
  • The work suggests a point of convergence of the body, a place of warmth and depth transformed into abstract geography.

  • INtimate Topography 3
  • The trilogy concludes by broadening the gaze towards a more expansive territory, where undulations become continuous movement.
  • The curvatures expand laterally like a slow wave, and the warm, more diffuse crack suggests an energy that propagates beyond the anatomical detail.
  • It explores the idea of ​​the body as an emotional landscape, focusing on an area of ​​intimacy transformed into pure abstraction.

Biological Disobedience

Topography of the Live Algorithm

Topography of the Live Algorithm

27.55 x 9.45 in

  • Original work
  • Life as an act of rebellion, as that which refuses to be confined to binary systems or algorithms.
  • Biology as insurrection: it eludes, it insinuates itself, it insists.
  • In these times when artificial intelligence is advancing, we must remember that “life always makes its way” and keep in mind the value of what is LATENT, what is HANDCRAFTED, what bears the HUMAN IMPRESSION.

Under the skin

Under the Skin

Under the Skin

25.60 x 25.60 in

Neighbors

Neighbors

25.60 x 25.60 in

  • Original work
  • Under the Skin - Neighbors
  • Sottopelle offers an intimate reading of encounter, of desire: there are no bodies, but there is closeness; there is no contact, but there is tension; there is no explicit narrative, but there is a story that can be felt “under the skin.”
  • The body is suggested through internal pulsations, subtle tensions, and movements that seem to come from a deep layer.
  • The forms emerge like bodily memories: traces, sensations, emotions.
  • A living boundary between interiority and the external world.
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