The work questions humanity’s need to legitimize existence, contrasting it with non-human beings, who inhabit the world without justifying their presence. Conflict exists, but it arises from primary needs, not ideological constructs.

The symbols on the banners represent seven OUTcasts, seven marginalized bodies, seven entities deemed superfluous. Yet their ecological role is undeniable, while other species are favored through human-imposed selection.

The title references Pax Romana—a fabricated peace sustained through domination—and reflects on the contemporary paradox of a humanity that draws boundaries not only between itself and others but also between who has the right to exist and who does not.

A child’s drawing becomes the catalyst: a three-year-old, both fascinated and frightened by the current, embodies the ambivalence of our relationship with the ecosystem—one of visceral dependence and fear.

Sea and human share an emotional anatomy, shifting between calm and rage, nourishment and threat. The sea’s rhythmic pulse echoes the heartbeat; human blood, salty and ferrous, is a liquid memory of the ocean. The sea is a passage, an ally, and a force of dissolution—embracing and erasing us at once.

A drawing, pierced by embroidery, is anchored to an oar—a symbol of humanity’s attempt to master the waters. Lace and a crown evoke the sea’s regality, alongside the reverence and submission it commands.

An anthropomorphic fish, immersed in murky waters, fragments into three panels. Scraps of an old vocabulary layer the concept of linguistic identity, while neologisms of digital jargon emerge through embroidery, drawing a dialogue between past and present.

Ephemeral terms such as cringe, troll or bro condense meanings into a code inaccessible to previous generations, mirroring the speed and synthesis of online culture. A lexicon in constant mutation, between evolution and loss, expansion and dissolution of linguistic memory.

A synecdoche of a fragmented and reconstructed female body, the breast is constrained in a metal cage: not refuge, but display. A colorful, lace-adorned structure, reminiscent of fashion-imposed bodices and exotic bird aviaries, where the female image is domesticated, aestheticized, made the object of gaze and desire.

On the lid of the cage, a crown encompasses a lead bullet, set like a jewel. A menacing eye, suspended like a blade over the exposed body.

Natural events, in their primordial power, are now filtered, instrumentalized, rewritten.

A metallic vortex, in the first layer, evokes the informational chaos that overpowers perception, confusing reality and narrative. Subsequent layers deform the same event through altered perspectives, up to the last layer: a wire mesh, an illusory barrier that promises protection but separates from truth.

The imposed pregnancy becomes subtraction of choice, an act of domination engraved in the weave of the body.

The embroidery, imprisoned in a glass jar, oscillates between containment and visibility. Suffering is exposed, but unreachable: observed, never really understood. The jar becomes a social showcase, where female pain is reduced to ornament, acknowledged but unheard.

The work questions the viewer about the concept of control, overcoming the victim-victimizer dichotomy: here coercion extends to the bond itself, where power is exercised over the body, birth, and freedom of the other.

As in the short story, the opera is structured on two parallel and opposing planes. Both embroidery and custody are mirrored and equivalent; neither belief prevails over the other but they interpenetrate, as in the Chinese concept of yin and yang, merging and giving rise to a continuous cycle in which they coexist.

In a conflict there is no absolute ethical response; rebelling or yielding are not conflicting choices but part of the same process of transformation. Reality is neither static nor binary, but a system of interdependent forces that alternate, merge and redefine without ever crystallizing into a single truth.

The mother is an archetype of contradictions: belonging and identity, memory and loss. It is the first intimate relationship we know, and perhaps the most intense; only through a lifelong journey of separation is it possible to see the person who fathered us for who she truly is.

The 21 embroidered fish fragment their personality into instinct, resistance, conformity and fragility. They are elusive memories, impossible to retain, like specimens to be preserved in test tubes.

The box collects heterogeneous and symbolic elements: sharp objects, delicate materials, animal remains with ritual value, everyday amulets. An intimate and chaotic archive that attempts to contain the irrepressible. The title of the work comes from a familiar nursery rhyme, repeated like a formula for protection. It is the remnant of a magical thought, the echo of a tireless force that clashes with unrealized desires.

“Who’s born pisces will find their way / with luck in hand, they’ll seize the day / With strength and nerve, they claim their prize/ sharp of mind and keen of eyes / Yet wealth amassed may weigh them down / if fear should make them sink and drown / So guard your blood, your roots, your fate / some treasures come, but some must wait”.

The porcelain tureen, container of the embroidery, evokes an ancient womb, both fragile and strong, recalling the familiar desinare. A metallic navel, from which a rose branch runs like an umbilical cord, connects the fetus to the outside world.

It is a symbol of the best part of our world: memory, care, the purest feelings of being human. We live in a time when we are in danger of losing core values, such as family, courage and selflessness, threatened by power, money and the supremacy of a few.

The future, like the fetus, is pure, free of shadows, and it is up to us to preserve it. The threads woven around her figure protect a muffled uterine environment, reflecting the collective memory to be passed on. The colors of red, pink and orange evoke the light filtering from the womb, a symbol of exchange with the world.

The large-scale embroidery confronts us with a living scene that we witness.