The collaboration between Careof and the investment bank of the Crédit Agricole group in Italy continues, presenting at the close of the second year of exhibitions at the Milan branch the work of artist Claudia Losi.

Her artistic research, expressed through sculptures, photographs, installations, performances, and site-specific interventions, is dedicated to the relationship between human beings and nature. “Traveling and exploring represent for me a moment of knowledge and a way to have an in-depth experience of places and to give ‘space’ to my imagination,” the artist emphasizes.

“My interests include various disciplines, from natural and human sciences, from contemporary anthropology to geology, from geography to cartographic literature, to poetry. I like to set complex projects in motion, often long-lasting, that seek a sort of reconciliation between the expanded rhythm of nature and the fleeting one of human existence: from educational processes to cognitive ones. From the transformation of lichens, to glaciers, to geological maps; a micro and a macro that always originate from the same structure, the same grammar.”

Her recurring use of embroidery should indeed be considered as an attempt to engage with the slow rhythms of nature and relational processes, and as a metaphor for the tangle of relationships, stories, different cultural sensitivities, and specificities. “My work, in a low voice, merges the ecological dimension with social considerations,” Losi explains.

Since 1998, she has carried out a series of projects based on participation and relationships that over time have transformed into collective operations focused on active objects acting as catalysts of energies, experiences, and shared memory. Balena Project, started in 2002, is a striking example.

In the spaces of Crédit Agricole, the artist presents Dandelion 7 (2014) and two versions set in dialogue from the series Windy Grass (2014). Exemplary of her poetics, the three works originate from pages of a photographic book from the late 1950s, reworked by the artist using watercolor and cotton thread, with the intention to make possible trajectories of flying seeds (specifically dandelion or taraxacum) “tangible” as well as visible. These trajectories foresee exiting the screen, the glass of the frame, to invade the space of the wall.