In her current printmaking practice, Elena explores the narrative fragments of trauma—the loss of a defining pillar—subverting historical archetypes through the lens of The Unfamiliar Gaze. In these new etchings and woodcuts, idiosyncratic subjects themselves that have chosen her, projecting their own gaze inward to populate her subconscious on her way reaching autonomy.
This internal haunting manifests in her etching ‘Il Pinocchio all colonna’. Saint Sebastian reimagined as a broken Pinocchio bound to a vanishing, ethereal column in an exposed, placeless void. By grafting the vulnerability of the tragic puppet onto the sacred anatomy of the martyr, the work transforms a childhood fable into a profound monument to structural collapse and doubts of reality itself.
A colder intimacy blankets her woodcut of Judith. Stripping away Baroque theatricality, the piece focuses on a tense, shared psychology where figures merge into a single silhouette, illuminated only by the severed head.
This vulnerability culminates in a sweeping woodcut of Athens. The ancient cityscape presents a grand desire fraught with spatial anxiety—an architectural manifestation of a great beauty that you fear to enter. The city becomes a living presence that turns its monumental gaze back upon the observer.
In her current printmaking practice, Elena explores the narrative fragments of trauma—the loss of a defining pillar—subverting historical archetypes through the lens of The Unfamiliar Gaze. In these new etchings and woodcuts, idiosyncratic subjects themselves that have chosen her, projecting their own gaze inward to populate her subconscious on her way reaching autonomy.
This internal haunting manifests in her etching ‘Il Pinocchio all colonna’. Saint Sebastian reimagined as a broken Pinocchio bound to a vanishing, ethereal column in an exposed, placeless void. By grafting the vulnerability of the tragic puppet onto the sacred anatomy of the martyr, the work transforms a childhood fable into a profound monument to structural collapse and doubts of reality itself.
A colder intimacy blankets her woodcut of Judith. Stripping away Baroque theatricality, the piece focuses on a tense, shared psychology where figures merge into a single silhouette, illuminated only by the severed head.
This vulnerability culminates in a sweeping woodcut of Athens. The ancient cityscape presents a grand desire fraught with spatial anxiety—an architectural manifestation of a great beauty that you fear to enter. The city becomes a living presence that turns its monumental gaze back upon the observer.
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