cultural and anthropological buildings. As with the beautiful Caryatid classics, proud, upright and supporting the lintel’s monuments, the women’s legs are not identified or identifiable are figured in sequence. In a plastic and unreal feel, they surrender their sexuality to be a proud symbolic sign of support for this world, made faceless with lighting and image repetition. These legs are snappy, nervous, cured, polished and tanned, they tell of their tireless paths, willfully focused on life’s successes, often marked by an unrecognized generosity or poor evaluation but not denied because of this. The legs rest strong and raw on earth, while the feet are grafted and concealed, they are almost rooted into the rocks, in between the streams of vital waters. The harshness of life and its whirlpools, are the pedestal for these strong and seductive elements, representing every woman and all women on planet earth. In their life that flows, they are beautiful and giving themselves to the world. There is a separate element which is light but strong, red and shines up like a small sun. It’s a poppy, a flower so fragile, which here is the symbol of life, telling of the multiplying pollination, therefore a reference to female sexuality, as a purely natural creation. This is an ethical piece of work, elegant and in the absolute defence of all women.

Emanuela Torlonia Dottorini