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Tania's work with black mouthpiece


Luca Atzori

The work opens with a black series of photographic exhibitions (painting) that will bring in ' set name dolls. The artist is
Tania Bocchino, lives in the canalside and is driven by the need to know that universe at times ineffable which is the body. Perhaps she is heightened interest because of an uncomfortable motor (which certainly does not appear as an obstacle to the feelings).
Tania's body occupies a liminal place between the inner and outer world, and this is perhaps the most important tool of knowledge. Each experience comes from those feelings that have collected on our skin, in our guts. The experience is undoubtedly the source, not the end.
Hence the title of the first series of works which refer to the first stage of the alchemical process known as blackness, or the phase where for the creation of a substance you start from the perfect source material, the lead that becomes gold.

entire history of art is littered with the theme of religion.
Art has always been a receptacle for all the sacred symbols, which is the most significant home immediately and directly to our unconscious. Tania
What is proposed is to illustrate the parallels between the life of Christ and of every man. Or rather, you might think about how each of us there is the potential for a demi. This series of paintings
it could be understood, more precisely, as a narrative of the myth which is that of Christ Gnostic Sophia.
Sophia is a figure that appears even in the Old Testament (Psalms, book of the prophets) to the apocryphal Wisdom of Solomon. In Christianity has become the female part of Christ (and not coincidentally overshadowed).
The issue revolves around which the art of Tania is really that of the sacred feminine.
The series begins in fact work to black with a work entitled kosmokrator which indicates the female uterus, seized by Tania after a Gnostic view of the array, which he considered Nature as a mere identification of the Woman. The womb of nature is precisely that "kosmokrator" generator of the cosmos. Hence the representation of the female body as a microcosmic image of the whole. So



as in the Eucharist, Memory and INRI me, or Deposition, Lamentation, where what is depicted is the passion of Christ, then the moment of death, and then the start of the rot, but only where they are represented and exclusively female subjects .





The figure of Christ is put on display is clearly derived from the pagan. Tania wants to show the contrary here especially as there is in charged of all those actions, ceremonies, icons, beliefs with which most of us grew up.
Unlike the common Catholic view, the body is conceived as a vehicle for liberation, not as mere prison. Maybe we could even consider that it is the very soul the prison of the body and not vice versa, and also because the one we're looking for (from the first phase of the black) is its unification with the universe, the complete unity between the ' high and low (est quod est sicut quod est Inferius superior). The soul is at the bottom of all our field of vision, including for this very symbolic in our fabric that we are locked, and from which we should leave (and this Christ is seen as an example).



Tania Mouthpiece is a careful reader of Camille Paglia, American author who has considered in his essay Sexual personae (C. Paglia, Sexual Personae: The Androgyne in Literature and Art, PhD thesis, 1974) the figure of woman as holy sanctorium of Nature, (in case of man, instead of Culture). This is obviously not easy to feminism cheap, but rather a form of feminism as well as machismo that could be defined before its time, where everyone takes their role and their place.
But like a kaleidoscope, in the work of Tania can be unearthed several interpretations. The most immediate is perhaps the most important and is on the erotic, as the reality of desire, but mainly to the universal. The man with his reason women want to put order into chaos. And love, as a return to the original womb, as a return to the heat source, protection.
Perhaps for this reason that Bataille would have said that "eroticism is the approval of life even into death."
(G. Bataille, L'erostismo, 1957).