Camilla Ancilotto was born in 1970 in Rome, where she lives and works.
In 1999 she earned her Masters’ degree of Fine Arts, specializing in painting, at the New York Academy of Art. Her first pitto-sculptural production was characterized by a research on multiple interactive figurations, realized thanks to rotating parallelepipeds mounted on a steel frame that allows them to rotate on their axis.
In 2013 she was among the artists selected for the 55th International Art Exhibition of the Venice Biennale with her work “Deposizione”.
In 2012 her monumental work “Original Sin” became part of the permanent collection of sculptures at the Wolfson Campus (Miami Dade College). In 2016 her work “The Prodigal Son” obtained a permanent place among the works housed in the Museum of the Cathedral Treasury of Vigevano.
2017 was the year in which Ancilotto came to realize her multi-colored polychrome works inspired by the ancient Chinese puzzle “Tangram”. With a new cycle, entitled “Ab Ovo”, she beacame a protagonist of the renowned Festival dei Due Mondi of Spoleto with her great solo show “Mutaforma”, exhibited in the main floor of Palazzo Collicola Visual Arts – Museo Carandente (Spoleto), curated by Gianluca Marziani.
In January 2018 her installation Ab Ovo overcame the selections for the
prestigious international contest of contemporary Art Rooms Fair Rome.
From 14 April to 14 July she took part in the 2018 edition of BIAS, (International Biennial of Contemporary Sacred Art), as a side event at the 57th International Art Exhibition of the Venice Biennial and in the official program of Manifesta 12, exposing a significant selection of works at Palazzo Belmonte Riso Museum of Palermo.
In April Ancilotto was in Monreale for the Van Gogh Prize – International Art Exhibition, curated by Sandro Serradifalco, where she obtained the prestigious award for “the most innovative work” with Katharsis.
Invited to participate in the 45th edition of the renowned international award Sulmona Art Prize (15 September – 6 October, Museo Civico Diocesano), she won the third prize with her work “Nigredo”.
The monumental work is an interactive union between painting and sculpture. It consists of blocks of polyurethane foam, which are covered with fiberglass and painted on the front and back.
The work is the artist’s rereading of one of the icons of modern Western art – Picasso’s Guernica (1937), the paradigmatic painting on the absurdity of the violence of all wars, Deposizione was inspired by the artist’s reflection on the antithetical combination of “war / peace.” The juxtaposition of the two terms in her work is configured through painted images that are at the same time emotional and playful and that linger in the space where tragedy flowers into hope.
The reflections on life and death that underlies the creation of Deposizione have a powerful counterpoint to the idea behind the play-building cubes of children, a privileged means through which the free creativity of adults can resurface. The viewer as active participant, interacting with the artwork, recovers his childlike nature, breaking through the reality that surrounds him and potentially altering some of its aspects. The work, participated in and shared with, thereby becomes a “collective ritual.” The playfulness invited by the work, though, does not compromise the generating of deeper reflections. The references to the horrors and devastation of war depicted in Guernica, are, in Deposizione, intended to evoke the daily atrocities that ordinary civilians, children in particular, who are forced to live and suffer in a country at war.
In a compelling synergy between serious art and playful games, Deposition is the result of a contemporary artistic sensibility that looks toward a more hopeful and peaceful future through the prism of an artistic icon of the past.