The soft forms are used by me to investigate the expanded body geography that concerns the historical configuration of the female and male body. They are sculptural works that allude to the shapes of the human body, their combined and repeated members intend to expand the notion of female and male body. Soft works pose the question: what does a body need to have to be considered female or male? If breasts are necessary to determine the female body, why do they have to be two? On the front of the body? These questions are postulated to establish a mental exercise by which we can rethink the body, its parts, and what interests it for gender determinations.

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My friend Cláudia (2020) -  Series: softs - Iron, synthetic skin, nylon, sand, shoe, velvet, pearl and thread

- 137x40x37 -  Museum of Art of Rio collection, Rio de Janeiro

211015-Elle de Bernardini-ph Ana Pigosso

Luana Muniz (2021) - Series: Softs - Nylon, sand, synthetic skin, acrylic and iron beads - 125x100x110

“Gum” is a colorful and vibrant sculpture, even a little childlike, materializes the imagery that exists in society regarding transgender and gay people. Colorful, vibrant, and happy people, but who carry weights of different types. Weights that hold them to the earth, when their flying heads want to reach the sky. I have work on the series, “Softs”, bringing transvestite, transsexual, or cisgender women to the fore who contributed to the issues of feminism in Brazil. All my pieces with shoes are given titles that are the names of these great personalities that unfortunately are not in the history books. And my sculptural pieces without shoes reflect the common and popular imagination about the universe of sexuality in general, but also the specific profile of these populations persecuted for gender issues, such as transsexuals and transvestites. "Gum" is a work that plays, that humorizes, the image of the gay universe that we have in mind, colorful, lively, festive and romantic, without forgetting the body, its parts, weights, measures, flaccidity and rigidity. Body, an element that is so subject to the judgment present in the other's gaze on us.

211015-Elle de Bernardini-ph Ana Pigosso

Gum (2021) - Series: Softs - Nylon, sand, synthetic skin, acrylic and iron beads - 85x90x100

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Roberta Close (2020) - Series: softs - Synthetic skin, nylon, sand, pearls, fabrics, iron, belt and lacquer boots

- 142x70x70 - Underdog Collection, Italy

“Metiê” is a sculpture also from the soft series, where nylon and sand are the main materials to create shapes that allude to the human body. Pockets of sand that mix on a pedestal, brings the image of a non-binary corporeality. When we look at the piece, our imagination goes through the categories of male and female and our mind seeks to understand the forms that it sees while sculpture is a material and mental proposal and to think of the human body beyond the female and male bodies.

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Metiê (2020) - Series: softs - Synthetic skin, nylon, sand, recycled blanket, metal and iron - 120x40x40 

- Underdog Collection, Italy

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Leila Diniz (2020) -  Series: Softs - Nylon, sand, synthetic skin, beads, glass beads, satin tie, synthetic hair and iron

- 105x80x85

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Petit Mort (2020) - Series: Softs - Nylon, sand, glass beads, synthetic skin, satin bow tie, pearls and iron

- 124x40x64

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John (2021) - Series: Soft  - Nylon, sand, felt, dyed leather, synthetic skin and nail on canvas - 180x55

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Now there are three (2019) - Series: Softs - Recycled blanket, rubber, nylon, sand and nail on canvas - 65x40x15

The soft forms are used by me to investigate the expanded body geography that concerns the historical configuration of the female and male body. They are sculptural works that allude to the shapes of the human body, their combined and repeated members intend to expand the notion of female and male body. The soft works pose the question: what does a body need to have to be considered feminine or masculine? If breasts are necessary to determine the female body, why do they have to be two? On the front of the body? These questions are postulated to establish a mental exercise by which we can rethink the body, its parts, and what interests it in terms of gender determinations. In “Two weights and two measures”, we see two pendants at two heights, two measures and two weights, a popular phrase that alludes to the polarities of life, right and wrong, good and evil, feminine and masculine. Arranged in the shape of a pendant, and tied together, they are opposed and complement each other, demonstrating that "two weights and two measures" are "two sides of the same coin", which is the human body.

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Two weights and two measures #2 (2019) -  Series: Softs - Nylon, sand, metal ring and string - 66x16x10

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Two weights and two measures #1 (2019) -  Series: Softs - Nylon, sand, metal ring and string - 66x16x10

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At the (2019) - Series: Countersexual Forms - Nylon and sand - 32x16

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Detail (2019) - Series: Countersexual Forms - Leather, nylon, sand, elastic, thread and plastic - 34x27x10

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Dance me to the end of love (2019) - Series: Countersexual Forms - Metal, Plastic, Acrylic, Nylon, Sand, synthetic skin, silicone foam, synthetic hair, rubber, pearls and elastic - 160x100x50 

Marcos Amaro Foundation Collection, Itu / Sao Paulo

190905 Verve Galeria Elle de Bernardini-

Dedão (2019) - Series: Countersexual Forms - Felt, synthetic skin, beads and thread - 86x22x40

The sculptures in the “Softs” series in nylon and sand represent women, mostly transsexuals have contributed to the development of Brazilian society. In the work “Janaína and the Order”, the honored is the transsexual woman Janaína Dutra, was the first transvestite woman to be a lawyer in Brazil in the late 1980s. She was from the northeast and worked at the government program that helped create laws against discrimination and violence. In the work, a second piece without shoes and called “Ordem” alludes to Janaína's work for justice, equal rights. Several bags in different skin tones recall the characteristic diversity of Brazil. A mixed people, formed by different peoples, foreigners, natives, enslaved. In these sculptures I try to pay tribute and reflect in the field of plastic arts on the history of Brazil and its central characters, those who changed the course of things. The materials, nylon and sand, which I borrow from the 70s American black artist named Senga Nengudi - she is my great reference - help me to materialize these deviant bodies from the gender norm, like the bodies of the trans women I want to portray and be honored. The flexibility of the materials and the different weights provided by the sand bags give me a creative freedom to assemble body shapes that are not identifiable. We know Janaína's story by the title of the work and by the explanation I gave about it. But the most important thing for me, in addition to encouraging people to discover the story behind the title and the work, is the sensations these pockets of sand and nylon of different colors provoke in the viewer's body. What kind of images of different bodies can be seen in the works. And this plurality of possibilities for reading different bodies from the sculptures is the idea about a society where bodies are no longer categorized only as female and male.

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Janaina and the Order (2021) - Serie: softs - Iron, synthetic fur, suede, leather, aluminum rings, nylon, sand and shoes. - 140x50x50 - 120x50x50

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The Drops (2021) - Series: Soft - Nylon, sand, synthetic fur, leather and metal - 134x68x62

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Isabelita dos Patins (2021) - Series: Soft - Nylon, sand, leather, glass beads, skates and iron -  145x120x120

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Just let it be (2019) - Series: Softs - Nylon, sand, felt and shoe - 140x105x20

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I miss Amelia (2021) - Series: Soft - Nylon, sand and nail - 187x60x23

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Maria Mijona (2021) - Series: Soft - Nylon, Sand, and Nail - 168x65x28