‘Damnatio Memoriae’ challenges the questions of control, annihilation and dehumanisation. Taking Raphael’s  “The School of Athens” as the visual and historical starting point of her reflection, the artist tackles the recurring attempt to erase women’s voices from records.

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Drawing on Antiquity, the Renaissance and modern times, the artworks span centuries of intentional silencing and depict an understanding of this phenomenon, wherein all around the world, even in democracies, suppressing expression is ever so present. 

Working with a deliberately reduced visual vocabulary and an economy of means, the artist pursues a research of the essential, and engages with the principle of duality to amplify ideological dichotomy that incentivize Manichaean modes of thinking and division in society. Whether through the empty spaces resonating on the canvas or the missing figures voluntarily removed, absence is perceived as a separate entity bringing about intellectual assassination.

 

In one work, a violet UV lamp activates texts otherwise concealed, rendering the narratives of women victims of femicide accessible only through the viewer's deliberate intervention. The act of revealing becomes inseparable from the decision to look, positioning remembrance as an active rather than passive gesture. The omission of their accomplishments from history books, lend the impression that the crime extends to the present day.

 

Next to these inspiring women, the last artwork focuses on men, often used like pawns and dehumanized faceless objects in the face of economic and political reasons, stripped of the ability to determine the fate of their own lives and bodies: killed on the battlefield, deported, imprisoned, their screams unheard, their deaths anonymised in the media.