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Sculpture (MA)

Carlota Bulgari

Close-up of my kinetic installation 'Possibility in the Void'
Close-up of my kinetic installation 'Possibility in the Void'
Full view of my kinetic installation 'Possibility in the Void'
Close-up of my kinetic installation 'Possibility in the Void'
Close-up of my kinetic installation 'Possibility in the Void'
Close-up of my kinetic installation 'Possibility in the Void'

Medium:

clay, metal, latex, silicone, DC motors, Arduino microcontroller

Carlota Bulgari 


  • MA Sculpture, Royal College of Art (2021-2023)
  • BA Hons Fine Art and History of Art, Goldsmiths University (2016-2020)


Cross-disciplinary research widely examines themes concerning the formation of subjectivity within a neo-capitalist context. Artworks include performance, kinetic installation and sculptural work using biomaterials (bacteria and fungi) alongside technological elements such as Arduino microcontrollers. Key projects include a five-year artistic partnership under the name SYN that used the female body and subjectivity to explore the complexities of symbiotic relationship. The female body is conceived as the embodiment of the cyclical nature of human life, thus challenging the neo-capitalist conception of linearity of time and space. SYN set the context for the body of work created at the RCA which raises questions around the fragile and finite nature of bodies.

Degree Details

School of Arts & HumanitiesSculpture (MA)RCA2023 at Truman Brewery

Truman Brewery, F Block, Ground, first and second floors

Microscopic picture of SCOBY bacteria (2023)

My practice situates itself within a cyborg-feminist framework and moves away from the dominant anthropocentric perspective. Supported by interests in postmodern philosophy and feminist sci-fi narratives, my practice emphasises the importance of including the human and the nonhuman, both organic and technological beings, within the processes of co-creation and co-destruction.

These ideas concerned with perpetual transformation are explored in the work depicted above, Possibility in the Void (2023). The latter is a kinetic installation composed of four skeletal clay sculptures each containing an uncoloured latex balloon. The sculptures are connected to an Arduino microcontroller that allows them to be inflated and deflated; the filling of the cavity refers to the possibility of newness within the void and to the pregnant body as a type of embodiment that is transient and temporal. The expansive and contractive movement and the fresh clay slowly drying convey a sense of gradual disintegration and decay, raising questions around the precarious and temporal nature of bodies. This sense of ephemerality is distinctive of my practice and is present in my latest works, alongside the consideration of erosion and sedimentation as powerful forces of change.