Soon, however, she was missing the haptic and she “increasingly had the desire to realize everything herself from start to finish, to design with her own hands – in other words, to work without optical aids, cutting boards, etc.” (1).
Reflecting on her roots, she began transferring small-format portraits of friends into embroidery. This was followed by wall-sized wax paintings, large-format mirror works, and small sculptures, whereby her sculptures made of ceramics, concrete, wax, and bronze exemplify her experimental approach to a wide variety of materials and material combinations.
Sperini understands how to translate these independent formal creative processes into wondrous pictorial worlds that are always captivating because of their tactile qualities.
Her interest is focused on the question of the construction of the human body, which for the artist does not exist as a whole and intact but is subject to constant change and reforming. With the question of the body as a venue for memory, the artist takes up a central theme in Western art history.
(1) Interview „Wachs-Tum und Freiheit“ between Nadine Wietlisbach and Loredana Sperini. In: Kultur
Ausgabe 1018 – Juli 2014,
