Giulia Cenci's Sculptural Ecosystems and Rural Studio Practice

Giulia Cenci creates sculptural beings that explore the boundaries between life forms and materials, often placing them in metallic environments. Her work dead dance (2021–22) was featured at the 2022 Venice Biennale as a 150-meter installation inspired by agricultural equipment. Cenci recently relocated to the Tuscan countryside, where she operates a studio in a converted stable and runs her own aluminum foundry using recycled car parts. She has developed an intentional community on her farm, teaching skills like welding and gardening while pursuing food sovereignty. The artist cites influences ranging from Yves Tanguy and Lee Bontecou to science fiction and T.S. Eliot's The Waste Land. Cenci's practice questions hierarchies between natural and artificial materials, noting that plastic originates from ancient forests transformed into oil. She rejects the concept of 'artificial' as imperialistic, arguing that human creations are as natural as animal products. Her work emerged from winning the MAXXI Bulgari Prize in 2020, which required substantial production space. Cenci views artistic practice as inherently political, recalling childhood experiences with church paintings as transformative encounters.