Learn moreFilly Cusenza’s artistic pathway starts from the passion for art and music, which parents, uncles, and aunts handed down her during the infancy as well as the great passion for needle and thread. She attended first the Faculty of Architecture, where she specialized in studies on the Sicilian Baroque and then the Fine Arts Academy in Palermo. Her hallmarks are experimentation with different materials, evocation both of memories of childhood and of fairytale and narration.
Let's go back over Filly’s development between 1990 and 2010, characterized by a fervent artistic production.
The materials game and the search of maternity
In the series Wefts of time, Filly talks to the flow of existence. She used sandy materials which allude to hieroglyphic writing and musical scores.
The series Fissures is realized in clay and white enamel and reflects reminiscences of family experience and of studies done during the sculpture and anatomy lessons at the Academy. Full space and empty ones are symbols of a second pregnancy, which is slow to come. Clay is lightened in the series of Suspended Words. They are intricate tangles of metal wire taking on the shape of embryons and empty uteruses, metaphors of a cage imprisoning the desire for maternity. Let us remember one of the tangles on a monumental scale of 1997. The spectator is overwhelmed by the artistic event and necessary has to interact with work.
The series Anatopies marks the passage to artistic maturity. It is the development of the concepts that are concealed in the previous artistic production. The Anatopies are big masses in fabric, like body fragments that lie silently waiting for something to complete them.
The theme of the body of the woman is central in the artist’s reflection and her works have symbolic meanings and constitute a return to the handicraft dimension of work.
Infancy and memories
When her first daughter was born, she began to create fairytale books with figures sewn in cloth conceived for being manipulated. The protagonists of these fairy tales dialogue not only with children bat also and above all with the adults in order to return to childhood through the memory. It is a conception of positive and playful art where life and dream are intertwined.
The monumental bra
It is all sugar’s fault is a bra in cloth on a monumental scale (6,58 x 2,60 m) placed in front of the picture by Renato Guttuso Women Rooms Landscapes Objects on the piano nobile of Villa Cattolica in Bagheria in 2009. It is the symbol of the body of the woman and of the repetitive and automatic gestures that she makes in the daily routine. It's as if one of the women of the picture had thrown the bra outside the space of the picture.
It is a steel needle three meters high and represents the moment of connection between the dresses and the work made on the illustration and the fairytale. As the painter uses the brush and the sculptor the material, Filly uses the needle as a means of expression.
90 little socks to stop time
This is an installation linked to the theme of recovery of memory. It is made of six threads on which are hung, in decreasing order of size, the socks of the artist’s three children treated with distemper. Arresting memory and turning it into a work of art, the artist has redeemed it from the destructive action of the time.
This installation is part of a larger project composed of five rooms that the artist covered with handmake drapes, bedspreads and books inspired by fairytales. The user walks on green grass, a listening sound of nature. It's a path designed to involve all the senses.
Today, at Museum Guttuso in Bagheria, you can see three artworks made by Filly:
Family photos and Runaway bride (3×3 mt)
My house is the Mediterranean inspired by the tragedy of migration by sea from the African coast.