Qui e altrove (2025) by Alina Petre | ARTVERONA 26

Alina Petre, ‘Qui e altrove’, 2025

Effetto Sauna (Fuori dalle parentesi) | Pad 12 - ES8

Alina Petre

Qui e altrove

2025

Nomination

MZ Costruzioni Prize

Available

€6,000.00 + VAT

olio su tela

150 × 100 × 3.5 cm (58.5 × 39 × 1.365 in), 7 kg (15.432 lb)

Sul retro

2025

Qui e Altrove

In this closeness between bodies, the animal appears as part of a broader web of relations. Boundaries become permeable, and metamorphosis seems already at work within the figures — in their mingling and belonging, at least for a moment, to a single organism. It is a slow, almost silent transformation, carrying something of myth without pointing to any specific tale.

The pictorial matter reinforces this condition. Through glazes, erasures, and layering, the figures surface while simultaneously seeming on the verge of disappearing. The surface retains traces, areas of opacity, and zones of suspension, blurring the boundary between the body and the space that contains it. In this threshold between visible and invisible, the animal becomes a vehicle toward an archaic dimension of the living, evoking a relationship with nature grounded in continuity, reciprocity, and mystery.

In this closeness between bodies, the animal appears as part of a broader web of relations. Boundaries become permeable, and metamorphosis seems already at work within the figures — in their mingling and belonging, at least for a moment, to a single organism. It is a slow, almost silent transformation, carrying something of myth without pointing to any specific tale.

The pictorial matter reinforces this condition. Through glazes, erasures, and layering, the figures surface while simultaneously seeming on the verge of disappearing. The surface retains traces, areas of opacity, and zones of suspension, blurring the boundary between the body and the space that contains it. In this threshold between visible and invisible, the animal becomes a vehicle toward an archaic dimension of the living, evoking a relationship with nature grounded in continuity, reciprocity, and mystery.

In this closeness between bodies, the animal appears as part of a broader web of relations. Boundaries become permeable, and metamorphosis seems already at work within the figures — in their mingling and belonging, at least for a moment, to a single organism. It is a slow, almost silent transformation, carrying something of myth without pointing to any specific tale.

The pictorial matter reinforces this condition. Through glazes, erasures, and layering, the figures surface while simultaneously seeming on the verge of disappearing. The surface retains traces, areas of opacity, and zones of suspension, blurring the boundary between the body and the space that contains it. In this threshold between visible and invisible, the animal becomes a vehicle toward an archaic dimension of the living, evoking a relationship with nature grounded in continuity, reciprocity, and mystery.

Alina Petre

Graduated from the National University of Arts in Bucharest in 2010, Alina moved to Venice shortly thereafter to continue to develop her practice at the Accademia di Belle Arti di Venezia. Her art focuses on evolution and the dangers given by climate changes.

Graduated from the National University of Arts in Bucharest in 2010, Alina moved to Venice shortly thereafter to continue to develop her practice at the Accademia di Belle Arti di Venezia. Her art focuses on evolution and the dangers given by climate changes.

Graduated from the National University of Arts in Bucharest in 2010, Alina moved to Venice shortly thereafter to continue to develop her practice at the Accademia di Belle Arti di Venezia. Her art focuses on evolution and the dangers given by climate changes.