Bodies as Emotional States

 

Bodies as Emotional States emerges from a simple yet radical observation:
emotions shape our lives far more deeply than we are often willing to acknowledge.
They operate through everyday gestures, family relationships, friendships, and the most intimate as well as fleeting encounters. Often unspoken, they inhabit the body—shaping posture, breath, and the distance we keep from one another.

In this project, I focus my gaze on the female body as the place where these emotional states become immediately legible. Not as symbol, but as living presence—as a sensitive space in which emotion manifests before it is explained or rationalized. The pose is neither artifice nor spectacle; it functions as a form of language through which emotion takes visible shape.

The poses are essential and measured. They are silent gestures through which an inner state concentrates itself: an exposed vulnerability, a restrained control, a suspended desire, a fragile stillness. Emotion is not explained; it is allowed to surface, so that the viewer may recognize it, feel it, and experience it as their own.

The painterly quality of the works contributes to this empathic dimension. Matter, glazing, and restrained light withdraw the body from any illustrative aesthetic and situate it within a shared emotional space. The reduced palette—deep blacks, ivory skin tones, petrol blues, and burnt reds—does not describe but constructs a climate: an affective temperature that accompanies the gaze and invites attentive listening.

A central element of the project is the red thread that connects one work to the next. Always the same, subtle and continuous, the thread originates from the emotional center of the body and extends into space, reappearing in the following image. It forms a line of continuity that makes visible what also occurs in everyday life: emotions do not remain isolated. They are transmitted, reflected, and passed from one person to another, shaping how we approach, understand, resist, or support one another.

Through this sequence, the works form an open, progressive structure that invites identification. To look at these bodies is to recognize emotional states that belong to shared experience—those that move through family life, friendships, and everyday social dynamics. In this recognition lies a possibility: the development of a more attentive, empathetic, and conscious way of relating to others.

Bodies as Emotional States does not offer answers or solutions.
It proposes a space of attention.
A place where emotion becomes visible and, in doing so, opens toward mutual understanding.