"Building on various layers of research, media, and processes, my artistic practice is rooted in the observation of the environment around me: human behavior and interactions, architecture, auditory landscape, found objects and text. Sampling fragments of this environment and life experience, using different media, is a core aspect of this work.”
— E. Lotti Astolfi
Petrified
In agitation
A crack between our feet
To be, become, was
Rewind or fast forward?
An interlude
Suspended time
Vibrational instabilities
Beliefs of existence
We faded to grey, away
Leaving a mark of dried Earth
Cementified sand
Dusts of Bikini
Shades of red
We always laughed
Never realising it was
An unconscious spasm
Of denial
An H with no A
Inferno 4, concrete, pastels, spray paint, collage on canvas, 90 x 100cm, 2020
Intoxicated By Hope, concrete, acrylic paint, pigments on canvas, 110 x 130 cm, 2020
Suspended Times, exhibition detail at Dzialdov, Berlin, 2023
Natura Morta con Eclisse, installation detail, 2023
Natura Morta con Eclisse, installation detail, 2023
No One Is Coming, concrete, pastels on canvas, 80 x 100 cm, 2019
Man Wants, concrete, pastels, spray paint on canvas, 110 x 130 cm, 2021
Thursday, concrete, pastels on canvas, 40 x 50 cm, 2020
13875 Days, concrete, acrylic paint, color pencils on canvas, 110 x 130 cm, 2021
Unsent Maydays, concrete, acrylic spray on canvas, 90 x 100 cm, 2019
The Waiting, collage, concrete, pigments on canvas, 24 x 30 cm, 2017
Eclisse, poem installation view. Detail of the exhibition Suspended Times at Dzialdov, Berlin, 2023
Eclisse, poem excerpt and installation view. Detail of the exhibition Suspended Times at Dzialdov, Berlin, 2023
Resonant Archives, installation view at Dzialdov, Berlin 2023
Front: Resonant Archives. Wall: I Move Through My Days Lighthearted and Carefree Knowing Everything Is Well, installation detail, Dzialdov, Berlin 2023
I Move Through My Days Lighthearted and Carefree Knowing Everything Is Well, quartz sand on canvas, 30 x 40 cm , 2023
Interlude, exhibition detail at Ortloff, Leipzig, 2020
Consent, concrete, collage, pastels on canvas, 80 x 100 cm, 2018
Epiphany, concrete, acrylic paint, pastels on canvas, 90 x 100 cm, 2020
Baton Floating, color pencils on 450 gr paper, 18 x 24 cm, 2021
Untitled 21, oil pastels on 450 gr paper, 18 x 24 cm, 2021
Untitled 043, pastels, pigments on 450 gr paper, 17 x 24 cm, 2020
Friday, concrete, pigments, pastels on canvas, 40 x 50 cm, 2020
Observing Indirect Objects, collage, concrete, typewriter, pigments on canvas, 24 x 30 cm, 2017
June, acrylic paint, pigments, concrete on canvas, 40x50cm, 2020
Untitled T1, concrete, pigments, pastels on canvas, 20x20cm, 2021
Untitled 427, pastels, pigments on 450 gr paper, 17 x 24 cm, 2020
The Fish Were Drowning, watercolour pencils on 450 gr paper, 18 x 24 cm, 2021
In a future where technology is the only thing left to contemplate the destructive effect of humanity on Earth, what remains is an Elegy that scrolls on a black digital screen. A lament void of sympathy is read by two automated voices and accompanied by an uneasy electronic soundtrack.
Please listen with headphones
A World of End Credits
Text, audio-video excerpt,
full length 3.50 min, 2014