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V.F | VISUAL ARTIST
WORKS
I Wanted to Be There Too
I Wanted to Be There Too is a floor installation conceived as a walkable invisible sea from which fragments of interrupted lives emerge.
The work transforms a carpet into a metaphor for loss, absence and collective responsibility, reflecting on lives cut short in the Mediterranean and on the normalization of tragedy.
The work transforms a carpet into a metaphor for loss, absence and collective responsibility, reflecting on lives cut short in the Mediterranean and on the normalization of tragedy.
I Untie, 2026
Sciolgo (I Untie) is a participatory action that unfolds in space as a walkable corridor: a structure of iron tubes from which knotted ropes hang, each bearing a word or phrase drawn from the everyday lexicon of sexism. Participants are invited to walk through the corridor and untie a knot an apparently simple gesture that takes on collective meaning: a promise, a commitment to recognise and question the linguistic mechanisms that reproduce gender discrimination.
The work does not propose a resolution; it opens a space of suspension in which body, gesture and word meet in a shared act. Each untied knot becomes a trace of that passage.
The work does not propose a resolution; it opens a space of suspension in which body, gesture and word meet in a shared act. Each untied knot becomes a trace of that passage.
Vertex, 2025
Vertical morphology has been, and continues to be, a challenge for the city of Potenza: a story of ingenuity, an urban laboratory rooted in the earliest times of human settlement.
The conformation of the land has forced the city to constantly adapt and innovate. Over the centuries, its inhabitants have transformed difficulty into opportunity, developing ever-new solutions to overcome the physical and social obstacles imposed by the site's verticality.
The installation "Vertice" arises from this tension between planes and directions, between low and high, between past and present.
Its vertical geometries, inspired by the ancient intersections of building levels, evoke the intertwining of architecture and the stratification of the city.
Curated by LAP Laboratorio di Arte Pubblica Elisa Laraia
Description: The work is made from pressed recycled cardboard.
Color Choice: Silver spray paint.
Technique: Collage
The conformation of the land has forced the city to constantly adapt and innovate. Over the centuries, its inhabitants have transformed difficulty into opportunity, developing ever-new solutions to overcome the physical and social obstacles imposed by the site's verticality.
The installation "Vertice" arises from this tension between planes and directions, between low and high, between past and present.
Its vertical geometries, inspired by the ancient intersections of building levels, evoke the intertwining of architecture and the stratification of the city.
Curated by LAP Laboratorio di Arte Pubblica Elisa Laraia
Description: The work is made from pressed recycled cardboard.
Color Choice: Silver spray paint.
Technique: Collage
Fu allora che cambiai, 2025
Progetto d’arte partecipativa nel quale le donne di Pozzuoli diventano attrici attive e protagoniste del processo di creazione dell’opera.
Mentre l'universo linguistico è organizzato attorno all’uomo, la donna continua ad essere rappresentata con un linguaggio stereotipato e riduttivo, che non corrisponde più alla sua realtà in una società in continua evoluzione.
A ciascuna partecipante, sullo sfondo del mare di Pozzuoli, verrà chiesto di interpretare, davanti ad una telecamera, una frase tratta dal suo vissuto che l'abbia particolarmente toccata in quanto donna.
È proprio il processo con il quale si fissa quell’istante e lo si condivide che genera maggiore consapevolezza collettiva.
Mentre l'universo linguistico è organizzato attorno all’uomo, la donna continua ad essere rappresentata con un linguaggio stereotipato e riduttivo, che non corrisponde più alla sua realtà in una società in continua evoluzione.
A ciascuna partecipante, sullo sfondo del mare di Pozzuoli, verrà chiesto di interpretare, davanti ad una telecamera, una frase tratta dal suo vissuto che l'abbia particolarmente toccata in quanto donna.
È proprio il processo con il quale si fissa quell’istante e lo si condivide che genera maggiore consapevolezza collettiva.
Ordinary Condition, 2025
The work consists of a flying ladder, a sort of ladder, a tool used in the Navy with the purpose of allowing people to embark and disembark in extraordinary circumstances.
Upon closer inspection, we will notice that on the handles that allow people to climb up and down the ladder, thousands of pins are stuck, making its use essentially impossible, or at least extremely risky and difficult.
The ropes descend vertiginously. They are 13 meters long, precisely to represent the length of time, while the pins indicate the obstacles that women will have to face to achieve the longed-for gender equality.
In the performance, the involvement of the public is amplified by the participation of men, who may be asked, together with the women, to extract the pins to facilitate the climb up the ladder.
Pins, nautical rope, bamboo, cm 1300 x 25 x 3
Upon closer inspection, we will notice that on the handles that allow people to climb up and down the ladder, thousands of pins are stuck, making its use essentially impossible, or at least extremely risky and difficult.
The ropes descend vertiginously. They are 13 meters long, precisely to represent the length of time, while the pins indicate the obstacles that women will have to face to achieve the longed-for gender equality.
In the performance, the involvement of the public is amplified by the participation of men, who may be asked, together with the women, to extract the pins to facilitate the climb up the ladder.
Pins, nautical rope, bamboo, cm 1300 x 25 x 3
Imprinted traces
video installation 5’04”, LED screen, wood, handles, paper, 96x119x72cm, 2024
My artistic research analyses the role of women, with particular attention to gender equality.
My work intends to investigate, through a reconstruction of family stories, generations, time, the female traces of culinary tradition.
In an intimate atmosphere, the testimonies follow one another in the video installation which is formed by a screen contained inside an old drawer that aims to represent the flow of time, evoking the process of recovering memories, never completely lost.
Each page has its own story, personal signs, a stain, a cancellation, a tear, differences in the graphic style.
Each element is chosen to evoke sensations, images, nostalgic memories. Passing down family recipes, cooking together, the grandmother, the mother, the daughter.
In the audio track, the poetics develops on various fronts; the first is maternal love, tradition and passion.
In the audio track: "Every wife, even if not Neapolitan, but who has a Neapolitan husband, must, absolutely must, if she wants to be a perfect wife, often present him with a hot pizza at snack time". It is an excerpt from Petronilla's 1941 book
This role of perfect spouse has always been entrusted to the woman, creator of the desire to nourish care.
In this historical moment, with the transformations that have followed one another over the last few decades, a radical reversal is desirable that sees the male figure as the protagonist of this practice, who in the guise of the "Perfect Man", can contribute to passing on the concept of Care and attention for others as a daily exercise, where respect for the female gender can also be achieved by giving one's own contribution to this aspect that is anything but secondary.
My artistic research analyses the role of women, with particular attention to gender equality.
My work intends to investigate, through a reconstruction of family stories, generations, time, the female traces of culinary tradition.
In an intimate atmosphere, the testimonies follow one another in the video installation which is formed by a screen contained inside an old drawer that aims to represent the flow of time, evoking the process of recovering memories, never completely lost.
Each page has its own story, personal signs, a stain, a cancellation, a tear, differences in the graphic style.
Each element is chosen to evoke sensations, images, nostalgic memories. Passing down family recipes, cooking together, the grandmother, the mother, the daughter.
In the audio track, the poetics develops on various fronts; the first is maternal love, tradition and passion.
In the audio track: "Every wife, even if not Neapolitan, but who has a Neapolitan husband, must, absolutely must, if she wants to be a perfect wife, often present him with a hot pizza at snack time". It is an excerpt from Petronilla's 1941 book
This role of perfect spouse has always been entrusted to the woman, creator of the desire to nourish care.
In this historical moment, with the transformations that have followed one another over the last few decades, a radical reversal is desirable that sees the male figure as the protagonist of this practice, who in the guise of the "Perfect Man", can contribute to passing on the concept of Care and attention for others as a daily exercise, where respect for the female gender can also be achieved by giving one's own contribution to this aspect that is anything but secondary.
Utopian boundary of freedom, 2024
The piece is a wearable prototype, intended as a declaration of freedom, countering the trend of objectifying the body. It's designed as a symbolic barrier, providing a sense of security for women showcasing their intimate parts. Between her and any potential intruder lies a grid of iron, adorned with sharp elements directed solely outward, akin to barbed wire with tips poised to deter any who attempt to encroach. The 'other' represents those who assume a woman's display of intimacy implies consent for physical contact.
Iron, cm 180x40, 2024
Iron, cm 180x40, 2024
131 Years, 2024
5 videos, wood, nails, ropes, 160x300 cm, 2024
At the current pace, it will take 131 years to achieve full gender parity worldwide.
2024 + 131 = 2155 AD.
A massive beam, with two large nails driven into it, suspends 131 long ropes of varying dimensions, thicknesses, and colors, symbolizing time. Each rope is adorned with knots representing the obstacles women will face in reaching gender equality.
A succession of women, of different ages and ethnicities, will bear the beam on their shoulders and walk, the tangle of ropes trailing behind them like a train.
Visually, it will appear as if they are carrying a cross.
They advance slowly, in slow motion, ascending and descending stairs.
The framing is frontal.
The involvement of the audience is represented by the participation of men who can be asked to untie knots while a woman wears the artwork. Through the influence of this action, past, present, and future intertwine.
At the current pace, it will take 131 years to achieve full gender parity worldwide.
2024 + 131 = 2155 AD.
A massive beam, with two large nails driven into it, suspends 131 long ropes of varying dimensions, thicknesses, and colors, symbolizing time. Each rope is adorned with knots representing the obstacles women will face in reaching gender equality.
A succession of women, of different ages and ethnicities, will bear the beam on their shoulders and walk, the tangle of ropes trailing behind them like a train.
Visually, it will appear as if they are carrying a cross.
They advance slowly, in slow motion, ascending and descending stairs.
The framing is frontal.
The involvement of the audience is represented by the participation of men who can be asked to untie knots while a woman wears the artwork. Through the influence of this action, past, present, and future intertwine.
Mistress, 2024
Two mitres, each perched atop pedestals roughly the height of two women, bear distinctive marks: one adorned with a blonde braid, the other with a cascade of black braids. These symbols speak to a society rife with discrimination against women and diverse ethnicities across our planet.
The artwork serves as a testament to the ongoing marginalization of women, even within the Catholic Church an institution meant to champion equality among all humanity.
The recent, albeit modest, inclusivity efforts of the Synod, which granted women the right to vote for the first time, mark a tentative step towards the cultural shift necessary for genuine progress.
I am compelled to protest the systemic exclusion of women from ecclesiastical roles a departure from the Church's inherent mission to promote equality, as it has historically done, and to break free from the isolating constraints imposed upon women for far too long.
My aspiration is to reverse the course, to pave a path forward through the transformative forces of fire and water destroying barriers while fostering renewal.
The artwork serves as a testament to the ongoing marginalization of women, even within the Catholic Church an institution meant to champion equality among all humanity.
The recent, albeit modest, inclusivity efforts of the Synod, which granted women the right to vote for the first time, mark a tentative step towards the cultural shift necessary for genuine progress.
I am compelled to protest the systemic exclusion of women from ecclesiastical roles a departure from the Church's inherent mission to promote equality, as it has historically done, and to break free from the isolating constraints imposed upon women for far too long.
My aspiration is to reverse the course, to pave a path forward through the transformative forces of fire and water destroying barriers while fostering renewal.
No Talking, 2025
“The work invites the viewer to reflect on the value of the word, freedom of expression and the dignity of work, transforming the silence imposed in the workplace into a sensorial and poetic message.
This message continues to vibrate in the present, through the oscillation caused by atmospheric agents, symbolically returning that denied sound.”
This message continues to vibrate in the present, through the oscillation caused by atmospheric agents, symbolically returning that denied sound.”
Essential point
Double knot is particularly complicated and controversial, it is necessary to overcome, clarify or resolve to reach the solution of a problem, a difficulty, a divergence: this is the crux of the matter.
Handover, 2023 — Valeria Fittipaldi | Clay Sculpture Installation, Naples
Clay, various dimensions, 2023
In the installation “Handover," it marked my first venture into using clay for my artworks. The installation aims to portray a terrestrial landscape marked by debris, resulting from the scars, alterations, and layers accumulated over time.
At first glance, the artifacts might resemble tree barks hollowed out from their vital essence, akin to shells drained of their life force.
They serve as harbingers of fragility, emptiness, the metamorphosis of an apocalyptic landscape that we are passing on to my children, our children, as direct inheritors and recipients of the legacy left by those who came before them. Those who have, unfortunately, paid little attention to their future, exploiting natural resources excessively and recklessly.
In the installation “Handover," it marked my first venture into using clay for my artworks. The installation aims to portray a terrestrial landscape marked by debris, resulting from the scars, alterations, and layers accumulated over time.
At first glance, the artifacts might resemble tree barks hollowed out from their vital essence, akin to shells drained of their life force.
They serve as harbingers of fragility, emptiness, the metamorphosis of an apocalyptic landscape that we are passing on to my children, our children, as direct inheritors and recipients of the legacy left by those who came before them. Those who have, unfortunately, paid little attention to their future, exploiting natural resources excessively and recklessly.
Dystopian nature, 2023
This artwork represents the fragility and resilience of our environment in a future era marked by chaos and transformation.
iron, galvanized sheet metal, clay, gold leaf, cm 40x170x20, 2023
iron, galvanized sheet metal, clay, gold leaf, cm 40x170x20, 2023
Are we Inside or Outside?
We are all "whole" individuals! What we have and experience within us, in one way or another, we express externally.
Where? In our daily lives, in the places we frequent... but sometimes our perception of what happens within us and around us doesn't quite align with reality.
The window serves as the perspective I refer to.
I envisioned the blending of the view from a window with the sounds that occur both inside and outside of it, depending on whether it's open or closed.
It's a somewhat psychedelic vision of an inhabited house within an urban setting.
Where? In our daily lives, in the places we frequent... but sometimes our perception of what happens within us and around us doesn't quite align with reality.
The window serves as the perspective I refer to.
I envisioned the blending of the view from a window with the sounds that occur both inside and outside of it, depending on whether it's open or closed.
It's a somewhat psychedelic vision of an inhabited house within an urban setting.
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