My artistic research is based on the use of traditional female manual techniques, with the use of other materials to make everyday objects.
The “beautiful object” often brings with it meanings, uses and customs that at first glance escape the common aesthetic vision, and it is interesting to decontextualize the object by transposing the original material into another to try to emphasize the intimate of the object thus resulting always refined, fine, but cold. My work takes up one of the classic crochet decoration techniques. My interest in this case is to draw attention to marginal, albeit fundamental, aspects of society: just as lace and embroidery are on the edge of objects, themes such as feminine knowledge, tradition, established roles are for me the driving force of my artistic work. Overturning all this by making the objects that I make the protagonist want to be a ransom for all those domestic works of embellishment of the walls of the house, which too often are underestimated.
I am currently pursuing an artistic search for a fusion of sculptural plasticity and woven lightness. My materials are, in fact, both classic materials related to the textile world, such as fabrics, ropes, wools and cottons, and more plastic materials with a strong sculptural rigidity, such as metals, wood, stone and cement.
The femininity inherent in the art of wire work considers it to be the main reason for my artistic career, in which I convey themes and topics that I consider fundamental, which dealt with the traditional techniques of the female universe and take on particular empathy and meaning for me. My works are often garments and objects that are symbols of being a woman today. The thin copper wire that most of the times I use wants to underline and reiterate the constraint to which we subject ourselves against nature with the various garments, shoes and objects, such as cilici that torment and mortify the meat but, that for obvious contradiction often such sacrifices they are performed by our own will, for the sole purpose of appearing.
Carole Peia, born in Cuneo (Italy) in 1992, in 2015 won a scholarship for a six-month stay in Japan, in the prefecture of Iwate, during which she attended a course in weaving and natural dyeing that will influence the sculptural works of the same. In 2016 she graduated by obtaining a second-level master’s degree from the Academy of Fine Arts of Carrara with the highest marks with a thesis that will win the 1st prize of the “Giancarlo and Marialuisa Sponga 2016” competition dedicated to young researchers field of textile arts. This recognition allowed her to enroll in the first level “Textile – creation of art fabrics” master’s degree at the Silk Art Foundation Lisio in Florence, to which she graduated in October 2018. Currently she teaches at the artistic high school in her hometown and at the same time pursues an artistic research of fusion between sculptural plasticity and woven lightness. Its materials are, in fact, both the classic ones linked to the textile world, such as fabrics, ropes, wools and cottons, and more plastic materials with a strong sculptural rigidity, such as metals, wood, stone and cement.