| My practice consists mostly of making installations. I am not interested in making new objects, but rather in creating new experiences. The idea of “temporary work” is important to me as a mirror of the transitory nature of the human condition. I am very sensitive to the social-political-spiritual atmosphere of a given time or moment. Working in public spaces and dealing with ideas of spirituality is a recurrent and evolving theme in my practice. I always have the desire to enter into intimacy with the public in order to diminish my own feeling of spiritual loneliness. The role of memory is also central to me. | 
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Eleonora Aguiari
Eleonora Aguiari, The Nails Room, 2001. Installation, nails, glue, table. Courtesy of the artist.
My practice consists mostly of making installations. I am not interested in making new objects, but rather in creating new experiences. The idea of “temporary work” is important to me as a mirror of the transitory nature of the human condition. I am very sensitive to the social-political-spiritual atmosphere of a given time or moment. Working in public spaces and dealing with ideas of spirituality is a recurrent and evolving theme in my practice. I always have the desire to enter into intimacy with the public in order to diminish my own feeling of spiritual loneliness. The role of memory is also central to me.
Very often with my work I have the impression to reveal the invisible or hidden. It seems to me that every object and every situation that appears to be a certain way actually exists in multilayered levels, and that I have the opportunity to perceive this. In this parallel universe there exists a different symbolism, a different hierarchy, and a different time/space equation that allow me to create new landscapes. What appears passive, such as objects, memory, and desires, can have an active and central role. What is familiar can suddenly become remote and extraneous; what is very silent and imperceptible can become extraordinarily present and important. And here the silence has a sound, “con dolcezza.” I have to reveal this parallel place; I have to represent it, to share it.
With my work, I ask the viewer to be generous and, even only for a moment, to let things go, to detach from everyday dynamics, and to trust me, completely, and enter my world. I would like the viewer to enter “naked” into my territory, this limbo, the physical space between “existing” and “being.” I work and rearrange, even only for a moment, the boundaries of these two concepts. I intend my work to offer a little moment of abstraction that, I believe, is nourishment for the soul. My desire is to induce the viewer not to see new things, but to see things with new eyes—even only for a moment.
