Luisa Badino

textiel, sculptuur, Publicatie, Objecten, keramiek, internationaal, installatie, Experimenteel, Community, collage, Artistiek onderzoek

My research focuses on creating disorienting and luring traps to investigate how mechanisms of attraction operate, through spatial painting installations layered within a phantasmagorical space inhabited by enigmatic objects. I often find myself captivated by these dynamics through the eyes of the prey, occupying a vulnerable position, while simultaneously sensing myself as predator and bait. These “traps” emerge from an almost obsessive observation, drawing inspiration from everyday screens and lenses, childhood memories, and the traces left on surfaces and their ongoing metamorphoses.
The fragments that surface act as bridges between the concreteness of reality and a fantastical dimension. The archive—composed of characters extrapolated from the archetypal alphabet of the trickster found in multiple mythologies—captures the tension between human experience and the dangerously seductive nature of materials.

Assumption of a prey with eyes bigger than its stomach
Assumption of a prey with eyes bigger than its stomach - Assumption of a prey with eyes bigger than its stomach is a multilayered installation, an invitation to relinquish conviction and embrace uncertainty. It evokes a human hunger driven by desire, drawing the viewer toward a fragile and porous membrane: a layered bioplastic environment resting on a movable, multi-armed steel hinge. Acting as a foldable mirror, the structure has absorbed the surface of a ceramic mold, where the fragmented, floating body dissolves into the bioplastic. As Giuliana Bruno suggests, the surface is a site where inner and outer worlds converge, where consciousness and the unconscious remain in flux, allowing for unrecognizable transformations and playful metamorphoses. These shifts reflect the process of creating the bioplastic and pigment: a membrane shaped by slowness, where water evaporates gradually to form a delicate patina. These “unstable mirrors” repeat and distort perception, generating a threshold, both physical and symbolic, reminiscent of the one crossed and inhabited by the mythological trickster archetype. Through the dispositif, a shifting assemblage of relations, the lens becomes both optical trap and organic parasite, inhabiting the architecture and generating fleeting glimpses of contemporary mythologies. The structure holds a tension between concealment and revelation, stillness and motion, allowing a new perceptual field to emerge at the blurred edge between vision and memory.
Assumption of a prey with eyes bigger than its stomach
Assumption of a prey with eyes bigger than its stomach - installation view at Grad Show, KABK, 2025, detail of bioplastic, ph. Arianna Cavalensi;
installation view of Specchietto per le allodole at Deus et macine, 2024, Joystick, Venice
Larks mirror - installation view at Deus e Macine, 2024, Joystick, Venice, salt dough wood, metal, variable dimension, ph. Francesco Levy;
Sotto Cristalli troppo morbidi
Sotto cristalli troppo morbidi - site specific Installation view at TerzoSpazio, zolforosso, Venice, 2023; ph. Umberto Santoro. Sotto cristalli troppo morbid is the result of the individual and collaborative creative processes of Luisa Badino and Giulia M. Belli.  The artists’ visual production is nourished by stories, fairy tales, myths, and legends, where reading and writing serve as the starting and ending points for their exploration. Words and images mutually feed and enrich the correspondence the artists have woven for months: annotated phrases become potential forms, impressions of moments lived or imagined that, through exchange, transform into tangible matter. The project at Terzo Spazio was inspired by a historical object, the Mondo Nuovo, or pantoscopic, depicted in 1791 by Giandomenico Tiepolo in the work Il Mondo Novo. In this portrayal, Venetian society turns away and gazes through a slit at a diorama depicting the time to come. The room’s boundaries are redefined by an iridescent drape, dense with shadows interrupted by blurred and intermittent lights, much like those that appear on the eyelids in the initial darkness when eyes are closed. Beyond this dreamlike threshold, it is possible to peek and get lost in a narrative of shadows and fantasies presented as archetypes, engrams, and mnemonic traces that have not yet been clarified, opening up to a multifaceted reading of the history immersed within. The work thus positions itself as a bridge between the conscious and unconscious, the present and elsewhere, and an intimate experience and a collective happening. text by Alessandra Luisa Cozzi, Martino De Vincenti, Giulia Maria Chiara Galiano
Sotto cristalli troppo morbidi
Sotto cristalli troppo morbidi - detail of site specific installation, carved mirror and light; 2023; ph. Umberto Santoro
Sotto cristalli troppo morbidi
Sotto cristalli troppo morbidi - pigment and resin on polyester, 2023, site specific installation view;

Daydreaming,

Datum:
Locatie: Villa Filanda Antonini, Treviso, Italy
In samenwerking met: Villa
https://www.vfa.art/it/events/130625-daydreaming

Daydreaming

Datum:
Locatie: Villa Filanda Antonini, Treviso, Italy
In samenwerking met: Villa Filanda Antonini
https://www.vfa.art/it/events/130625-daydreaming

Under too soft crystal

Datum:
Locatie: venice, Italy
In samenwerking met: zolforosso

Sotto cristalli troppo morbidi is the result of the individual and collaborative creative processes of Luisa Badino and Giulia M. Belli.
The artists’ visual production is nourished by stories, fairy tales, myths, and legends, where both reading and writing serve as both the starting and ending points for their exploration. Words and images mutually feed and enrich the correspondence that the artists have woven for months: annotated phrases become potential forms, impressions...

https://lbadino.cargo.site
Deze kunstenaar heeft nog geen toekenningen.