Gabriella Parisi is not just an artist—she is a factory of creativity, a living volcano in constant eruption, producing art, photography, video, and design with craftsmanship and vision at 360 degrees. She embodies both a mental and physical space where research and experimentation meet in a continuous, transformative dialogue.

Her inspiration flows from the vast realms of space and quantum physics. She delights in getting lost in the sidereal depths of cosmic magma, from which she forges new worlds—vivid, dynamic, and ready to be inhabited in a three-dimensional reality.

Gabriella Parisi constantly experiments with new artistic techniques, fearlessly migrating them across genres in an explosive crossover that sparks new perspectives and catalyzes rich, immersive cultural experiences.

The countdown has begun. A new dimension is about to emerge. 

For information, requests, purchases or commissions, please contact Gabriella Parisi via the following link:

https://www.artmajeur.com/gabriella-parisi

Continuity and Rupture in the Genealogy of Contemporary Art

Situating Gabriella Parisi’s work within a genealogy of contemporary art means recognizing a practice that develops not through belonging to a defined movement, but through crossings. Her work occupies a zone of continuity and rupture with respect to different historical traditions, reactivated and transformed in light of the cognitive, technological, and perceptual conditions of the present.

The dimension of mental space, central to her research, finds precedents in the experiments of conceptual art and environmental art of the late twentieth century, in which the artwork ceases to be an object and becomes an experience. However, while these practices often aimed at dematerializing the artwork, Gabriella Parisi operates in the opposite direction: she reintroduces matter as a sensitive and unstable field, charged with a psychological tension that prevents its neutralization.

The relationship between body and artifice, which runs through much of her production, implicitly dialogues with performative and post-minimalist research, where the body was understood as a measure of space and time. In Parisi’s work, however, the body is never represented directly; it is present through absence, inscribed in manual gestures, material traces, and structures that evoke a mental rather than anatomical physicality. 

This shift marks a significant rupture with historical body-based practices, updating them to a condition in which the body is constantly mediated by technology.

Her engagement with the digital clearly distinguishes itself from the genealogies of Net Art and early forms of Media Art. While the latter often emphasized technology as a disruptive element or autonomous language, Gabriella Parisi approaches the digital as an already internalized environment, devoid of revolutionary aura. In this sense, her practice fully aligns with a post-digital sensibility but radicalizes its implications, shifting attention from the device to the subject who traverses it.

Formally, her use of color and filtered figuration establishes a subtle dialogue with the pictorial tradition, without ever falling into citation or revival. The memory of the classical emerges as an echo, a sedimented trace that resurfaces within hybrid structures. This process generates a tension between recognition and loss, positioning the work critically in relation both to nostalgia and to modernist tabula rasa.

In Gabriella Parisi’s practice, sculpture plays a key role in redefining the concept of form. Far from monumental stability, her three-dimensional structures appear as provisional organisms, subject to a logic of mutation rather than permanence. In this sense, they engage with certain aspects of Arte Povera and anti-form research, while distancing themselves through the presence of an intense chromatic and perceptual dimension, foreign to those historical experiences.

Comparisons with contemporary practices operating at the intersection of art and technology further highlight the specificity of her position. Where many research projects prioritize immersive effects or spectacular interaction, the artist introduces a perceptual resistance. Her works do not absorb the viewer into a totalizing flow but maintain a critical distance, inviting slow and reflective engagement.

From this perspective, Gabriella Parisi’s work can be read as part of a line of inquiry that traverses contemporary art without ever fully coinciding with it. Her practice does not merely reflect the present but challenges its categories, questioning how subjectivity is constructed in a context of constant hybridization between natural and artificial, between memory and simulation.

The historical significance of her work lies precisely in this ability to hold continuity and discontinuity together, to recognize genealogies without being bound by them. In an artistic landscape often polarized between nostalgic returns and technological acceleration, Gabriella Parisi occupies an intermediate and critical position, in which art is configured as a space of consciousness rather than an object or event. It is in this zone of tension that her work finds its necessity and relevance within contemporary discourse.

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