Premio Combat Prize

Silvia Paci was born in Prato in 1990. She studied the Academy of Fine Art in Florence. She lives and works in Berlin.
Exhibitions
Sogni e Simboli, ONart gallery, Firenze (2017)
Curated by girls, online gallery.
Uno Nessuno Centomila exhibition, Teatro delle Logge di Montecosaro ,ONART Gallery (2016)
ROSSO DI DONNA exhibition, sala Campolmi , Biblioteca Lazzerini, Prato (2016)
Combat Prize, recommended artists (2016)
TU35 Project, Officina Giovani, Centro per l’Arte Contemporanea Luigi Pecci, Prato (2015)
Black Canvas exhibition, Fellini Gallery; Berlin (2015)
Focus Exhibition, Fellini Gallery, Berlin (2015)
Prima Pagina Art Prize, il Resto del Carlino, Bologna (2015)
Fragile Corpo, Spazio espositivo di via Firenzuola, Prato (2014)
Artist Statement
In my artistic research human body plays the most important role. The body is what allows us to be in
contact with the world, it’s a boundary that allows the communication. In the society where we live
the body is stereotyped. We are overwhelmed from models classified as perfect, then the goal of having
an attractive body becomes an identity construction project. My goal is to destroy body prototypes.
Through my paintings I try to bring to life the meaning of corporeality. Painting bodies as obese, maimed
and imperfect it means going back to the vision of the body as fragile and ephemeral substance. When I
paint I usually destroy the image and somehow also the”perfect” body myth to reach the truth. I love
creating unfinished and imperfect images. In my surgical operation serie i represented the absence of a
body. I have also used my body as a place of research. Using distorting mirrors i photographed the
image of my deformed body.
My inspirations also come from images, life scenes, newspaper clippings, photographs, film frames,
personal experiences. I love adding or removing pieces of images to create new meanings. I always
work on two sides, both of on pictorial and meaning. Sometimes the challenge is representing a piece of
flesh through his tones, shadows, light points, etc. and sometimes the challenge is how to make
powerful and meaningful pictures with few brushstrokes. When I want to create something realistic and
methodic I paint following traditional techniques. Instead I use quick brushstrokes and touches of pure
color when I need to be more direct and to free energies through the pictorial gesture. I am always
hovering between these two feelings. It’s mostly instinctive. Painting as surgery and surgery as painting.
Painting destroys the figuration as surgery destroys the body.