Bodies of Water is a site-specific performance happened in a old car repairing garage. At the centre of the room two cross-like holes, where technicians used to lie down, become the place of embalming or temporarily preserving a human body. The image is the one of controversy, even tough the body seems dead it slowly moves under a plastic coat and breathe from a transparent hose. Entering the space the viewer has the feeling of being inside of a scientist room, where life experiments are taking place. Questioning its position as human being the viewer is brought into a journey towards its root. Bodies of Water reminds us of a foetus inside the womb or a cadaver inside its coffin. Precisely, water represents such dual and counterposed effect; one of giving life and pleasure; one of giving agony and death.

Ipogeo is a performance happened one night, four hours, no stop under the ground. The performance consisted of a guided tour trough an underground wine cellar in the centre of Rome. The audience was guided by a performer who was pretending to be the owner of the space. Each room was locked and could only be experienced through the holes of the door. The rooms were described by the performer in different ways for each group. Once the group terminated their experience they were conducted outside the space where other groups waited to be the next. Here, outside the space, people discussed and shared their experience that all resulted to be different. This generated conversation around a space that actually had never existed.
When the viewer is guided through a gallery or a museum they expect to have an objective and clear experience of the artwork and be able to recall their position within the history of it. In Ipogeo the experience of the house was transformed and reshaped following the development of the performance.
For this reason this performance cannot be separated from the space itself; the performance becomes the space itself and it was transformed and reshaped using the body as a tool. The aim of the performer is to deconstruct the preconceived frame of a given space and to create a new and effective experience of it.
 In Ipogeo the performer becomes the space as they embody an extension of the architecture; therefore it is the audience who takes the leading act of the performance. This results into an observation of the interchangeability and interaction between this 3 elements: Space > Performers > Audience.

No One is Looking at You seeks to understand the relation between three active elements that constitute performance art: space, audience and performer. Through this work I explore the effects of altering those elements and put them into question. I challenge the position of the audience towards the performer, and the performer and audience in relation to architecture. By building a metal structure of 2m2 I was able to place the body of the performer on top of the audience’s head. The latter was forced to enter and thus to engage with the structure in order to experience the performance. In this performance the spectator is an active element who performs the actions dictated by the structure, which allows the audience to move, to perform and to understand the work.