https://pietragalli.com Pietra Galli Wed, 16 Sep 2026 11:16:49 +0000 https://pietragalli.com en http://pietragalli.com/There-is-no-falling-publication Wed, 16 Sep 2026 11:16:49 +0000 Pietra Galli 460328 Home <img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/e34f159996092f9503d1cddede23ec192e1b2eff256a903a2068e2beff4e5f0b/IMG_9669.JPG" data-mid="1446351" border="0" data-scale="64"/><img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/12c9923db4124302f89bcb417c7efbcb4f12dd0b67e8b9b5f5d032e7c03258af/2.jpeg" data-mid="1446349" border="0" data-scale="64"/><img width="2362" height="1576" width_o="2362" height_o="1576" src_o="https://cortex.persona.co/t/original/i/15cc0f3f3d76432f9317f29c12a3b5454dcbe686801aa5149f6b8ed18dfb62d0/3.jpeg" data-mid="1446339" border="0" data-scale="64"/><img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/42524d33b38afe0519143a484e0e227c5de07f8249684a8dd277443f8b54d2fb/4.jpeg" data-mid="1446341" border="0" data-scale="64"/><img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/67dae97f362a6bccf9bcaadbeac3720ddd6fcf2a46df582fa960e26b4f913515/6.jpeg" data-mid="1446350" border="0" data-scale="64"/><img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/b4f6964edba92709e29fee8b5ef153fa0659840945ebfc12fa10dab642e1fd59/7.jpeg" data-mid="1446340" border="0" data-scale="64"/><img width="2362" height="1574" width_o="2362" height_o="1574" src_o="https://cortex.persona.co/t/original/i/c24780901262dd9d7123787276b7a8bb07cd46d41ef15df167833a7782479094/9.jpeg" data-mid="1446344" border="0" data-scale="64"/><img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/e94fdf08674b5ddb1dac674b179468fa80d3eaf2aa249d6d2bdcd405149f7594/10.jpeg" data-mid="1446345" border="0" data-scale="64"/><img width="2362" height="1575" width_o="2362" height_o="1575" src_o="https://cortex.persona.co/t/original/i/0a958840270cb0b85c8e34ca15b7c3e475dcc5094bfcb57612ce55ea85f4c8b3/11.jpeg" data-mid="1446342" border="0" data-scale="64"/><img width="5184" height="3456" width_o="5184" height_o="3456" src_o="https://cortex.persona.co/t/original/i/a86a36be879a496269947210054a8a653116a82fdf6cbdb2818a23304935a79f/IMG_9667.JPG" data-mid="1446343" border="0" data-scale="64"/>There is No Falling, 2019. Artist publication, self published.&nbsp; Home Home There is No Falling, 2019. Artist publication, self published.&nbsp; Home http://pietragalli.com/Quintal-Backyard-1 Mon, 19 Jan 2026 23:28:52 +0000 Pietra Galli 458923 Home <img width="2622" height="3278" width_o="2622" height_o="3278" src_o="https://cortex.persona.co/t/original/i/523ccbf88354d4cc9a2079777e8ae31c7e0e247e57c4ecb7ed4ad3d5f7c5dc0b/campinho.jpeg" data-mid="1429670" border="0" data-scale="81"/><img width="3134" height="4701" width_o="3134" height_o="4701" src_o="https://cortex.persona.co/t/original/i/a875e9f76c18de0c60cf6c589e6685e3e1f7855658b82e8ac79c3ec6f239680f/goiabeira.jpeg" data-mid="1435363" border="0" data-scale="81"/><img width="1200" height="1500" width_o="1200" height_o="1500" src_o="https://cortex.persona.co/t/original/i/34232fb253372e49e8f6dabdb26dd02800083f68343b75e475d10eb32f32218f/Tunel-light-2.jpeg" data-mid="1429812" border="0" data-scale="81"/><img width="3386" height="4233" width_o="3386" height_o="4233" src_o="https://cortex.persona.co/t/original/i/9800161ebd50696e7d39f0ac47273ac0a58c23bb3858910ce6c0bff187fc86eb/Relampago-Fecha-a-Boca-Menina---2025.jpeg" data-mid="1429853" border="0" data-scale="81"/>1. Abacate-goiaba (Campinho) / Avocado-guava, 2025. Oil pastel on paper, 30 x 42 cm.2.&nbsp;Goiabeira / Guava tree, 2026. &nbsp;Oil pastel on plaster over wood, 20 x 15 x 2 cm. 3.&nbsp;Túnel / Tunnel, 2025. Coloured pencil on plaster over wood, 15x15x1cm.4. Relâmpago (Fecha a Boca Menina) /&nbsp; Lightning (Close your mouth sweetie),&nbsp;2025. Oil pastel on paper, 51 x 63 cm. <img width="2136" height="3203" width_o="2136" height_o="3203" src_o="https://cortex.persona.co/t/original/i/4636b30164691116c770463792d2bcb6f6c75bfab1333a15a75dd5970a9d168b/janela-aberta-mini.jpg" data-mid="1445482" border="0" data-scale="65"/><img width="1388" height="2081" width_o="1388" height_o="2081" src_o="https://cortex.persona.co/t/original/i/d64596aa460b0ed63d212afae8cf6d485ec561260a7d3bb136c26b65d7ee6b54/janela-semi-mini.jpg" data-mid="1445481" border="0" data-scale="62"/><img width="1671" height="2508" width_o="1671" height_o="2508" src_o="https://cortex.persona.co/t/original/i/5bb7a21a51ee66db3181ad8a503916f8a18b9ba429771e3720b3345747eb2547/janela-fechada-2-mini.jpg" data-mid="1445480" border="0" data-scale="62"/> 1. Janela do Avião #3 /&nbsp;Window Seat #3,&nbsp;2026. Coloured pencil on plaster over wood, 6 x 5 x 2 cm. 2. Janela do Avião #4 / Window Seat #4, 2026.Coloured pencil on plaster over wood, 6 x 5 x 2 cm.3.&nbsp;Janela do Avião #5 / Window Seat #5, 2026.Coloured pencil on plaster over wood, 6 x 5 x 2 cm. <img width="1843" height="2765" width_o="1843" height_o="2765" src_o="https://cortex.persona.co/t/original/i/f385cfbf871b4c56f6aa50aadd5120a661ef3df1b34a62a3cd227315f49c3d1d/escada-2.jpeg" data-mid="1445484" border="0" data-scale="62"/><img width="2509" height="3763" width_o="2509" height_o="3763" src_o="https://cortex.persona.co/t/original/i/0d6ca49f984cf85e51f8908148f79b0427238c6cb5a36ed2755c82ea95beb18b/estrada.jpg" data-mid="1445487" border="0" data-scale="62"/>1. Escadas (Café da Manhã) /&nbsp;Staircase (Breakfast), 2026. Coloured pencil on plaster over wood, 6 x 5 x 2 cm. 2.&nbsp;Noite / Night,&nbsp;2026. Coloured pencil on plaster over wood, 7 x 15 x 1 cm. <img width="2732" height="4098" width_o="2732" height_o="4098" src_o="https://cortex.persona.co/t/original/i/7c0bcc525c723bee3348f7edc6cc4d349aabb7da4bf97d26412faeda1b3688d4/Firefly-2025.jpeg" data-mid="1429833" border="0" data-scale="69"/><img width="2545" height="3818" width_o="2545" height_o="3818" src_o="https://cortex.persona.co/t/original/i/71b756329e141d7e24eeed95fac9f3595b5587d71606674533351539cddf7df9/tunel.jpeg" data-mid="1445488" border="0" data-scale="69"/><img width="4777" height="3185" width_o="4777" height_o="3185" src_o="https://cortex.persona.co/t/original/i/e0ac1141c42add6ba865831af8b989782fa111faecc04eae219994dbe2e75411/o-acidente-close-up.jpeg" data-mid="1429815" border="0" data-scale="79"/>1.Vagalume / Firefly, 2025. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Coloured pencil on plaster over wood, 5 x 5 x 2 cm. 2. Túnel (Praia) / Tunnel (Beachside), 2026. Coloured Pencil on plaster over wood, 15 x 15 x 2 cm. 3. O Acidente / The Accident, 2025. Coloured pencil on plaster over wood, 18 x 8 x 1 cm. <img width="5006" height="3337" width_o="5006" height_o="3337" src_o="https://cortex.persona.co/t/original/i/12e6e49b6f276f3c9873fba09920bf137b913dd70ee4a966e2a723d4699eeb51/dois-morros-close-up.jpeg" data-mid="1429836" border="0" data-scale="75"/> Dois Morros / Two Hills, 2025. Coloured pencil on plaster over wood, 15 x 8 x 1 cm. <img width="2694" height="4041" width_o="2694" height_o="4041" src_o="https://cortex.persona.co/t/original/i/b45721c2eb375a605d2a2451bb8001261df328d68312298b2f2f1537c4c4f437/IMG_0738.jpg" data-mid="1445486" border="0" data-scale="69"/>Persiana (Nascer do Sol) / Blinds (Sunrise),&nbsp;2026. Coloured pencil on plaster over wood, 7 x 20 x 2 cm. <img width="2883" height="3330" width_o="2883" height_o="3330" src_o="https://cortex.persona.co/t/original/i/06c5b305f60269f9327d0a4ed5a5dd30f376ff728ac46a9b6973bcd8f54e7301/Guardian-Angel-2025.jpg" data-mid="1429851" border="0" data-scale="72"/>Anjo da Guarda / Guardian Angel, 2025. Coloured pencil on plaster over wood, 19 x 15 x 2 cm. <img width="1911" height="2866" width_o="1911" height_o="2866" src_o="https://cortex.persona.co/t/original/i/302754d5be2eb3be9b0c00dcdf36d84c22d3e90b14f67f63f2a56ea9acebe58e/armario-mini.jpg" data-mid="1445483" border="0" data-scale="69"/>Armarinho dos Remédios (Específico Pessoa) / Medicine Cupboard (específico pessoa), 2026. Coloured pencil on plaster over wood, 5 x 6 x 2 cm. <img width="3014" height="4521" width_o="3014" height_o="4521" src_o="https://cortex.persona.co/t/original/i/a163097929f21902bfa8106a6ea229a0e9ad9a69e26435b60df3ad47ade855e4/Rocha-2-2025.jpg" data-mid="1445479" border="0" data-scale="72"/>Rocha / Rock, 2025 Coloured pencil on plaster over wood, 27x 18 x 1 cm. Home Home 1. Abacate-goiaba (Campinho) / Avocado-guava, 2025. Oil pastel on paper, 30 x 42 cm.2.&nbsp;Goiabeira / Guava tree, 2026. &nbsp;Oil pastel on... http://pietragalli.com/There-Is-No-Falling Wed, 16 Apr 2025 09:29:46 +0000 Pietra Galli 456580 Home <img width="4231" height="2821" width_o="4231" height_o="2821" src_o="https://cortex.persona.co/t/original/i/380884cb97c748221431b9877d89ab1f8a6d883b1797d3c91c5a0512f9f6e022/IMG_8631.jpeg" data-mid="1404858" border="0" />There Is No Falling, 2017. Ceramic, plaster, video projector, 120x30cm. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; There Is No Falling, 2017. 1min 59sec, digital video. <img width="3456" height="5184" width_o="3456" height_o="5184" src_o="https://cortex.persona.co/t/original/i/cc05d74dfc73f61d2ebc316a535be2e49c3289e79d78f08b17f54082b2336780/IMG_8638_.jpeg" data-mid="1404860" border="0" /> There Is No Falling, 2017. Detail of video projection on screen. <img width="3189" height="4784" width_o="3189" height_o="4784" src_o="https://cortex.persona.co/t/original/i/5d505fcdcfef585df82c7226acecf42cc29c4889e39a7dae9ca8f3ffd992a802/IMG_8645.jpeg" data-mid="1404856" border="0" data-scale="61"/>There Is No Falling, 2017. Ceramic, plaster, video projector, 120x30cm. <img width="1400" height="2450" width_o="1400" height_o="2450" src_o="https://cortex.persona.co/t/original/i/83ef28d14ac15277a91f3214c1344fc85195fe7deaaef18b30dd1f30c4b7d962/IMG_8637_.jpeg" data-mid="1404859" border="0" data-scale="81"/>There Is No Falling, 2017. Ceramic, plaster, video projection, metal, screen, 120x30cm. <img width="3393" height="5089" width_o="3393" height_o="5089" src_o="https://cortex.persona.co/t/original/i/ba0ae8482d56dcf30ed21eaedecc70fe0aae82488a2ac90af814552083d254d7/IMG_8648.jpeg" data-mid="1404863" border="0" data-scale="61"/>There Is No Falling, 2017. Detail of video projector pocke There Is No Falling is a three-part project beginning in October 2017 and ending on June 2018. Initially planned as a fictional documentary about an island seen on a navigational software, it developed to the study of the complex geographical relationship between the one looking at the screen, the chosen island and the satellite that captured its image from outside the globe. It was inspired by Hito Steyerl’s essay In Free Fall: A Thought Experiment on Vertical Perspective, published on e-flux in 2011.There Is No Falling&nbsp;is the first act of the project and was exhibited at Chelsea College of Arts WIP show in 2017.&nbsp; There Is No Falling é um projeto de três partes tendo início em Outubro de 2017 e finalizado em Junho de 2018. Inicialmente planeado como um documentário fictício sobre uma ilha vista num software de navegação, desenvolveu-se numa pesquisa auto-fictícia sobre a relação geográfica complexa entre a pessoa que observa a ilha através do ecrã, a ilha, e o satélite que captura a sua imagem fora do globo terrestre. O projeto foi inspirado pelo ensaio de Hito Steyerl In Free Fall: A Thought Experiment on Vertical Perspective, publicado no e-flux em 2011. There Is No Falling é o primeiro ato do projeto e foi apresentado na exposição WIP da Chelsea College of Arts em 2017. Home There Is No Falling, 2017. Ceramic, plaster, video projector, 120x30cm. &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; There... http://pietragalli.com/Is-land Mon, 14 Apr 2025 13:26:44 +0000 Pietra Galli 456559 Home Home http://pietragalli.com/Embracing Tue, 25 Mar 2025 18:10:37 +0000 Pietra Galli 456323 Home <img width="3853" height="3853" width_o="3853" height_o="3853" src_o="https://cortex.persona.co/t/original/i/5469c04e1003aaba9cdd134544666e11b8f6ac17c5fefa4c1306ebfb54db7eae/FA-REF-0584-1.jpeg" data-mid="1401594" border="0" /><img width="3359" height="3359" width_o="3359" height_o="3359" src_o="https://cortex.persona.co/t/original/i/642c16ea33a9c77b8da58487f803b5819b2a340ae54ec3f56ef3eacacca552ce/FA-REF-0686-1.jpeg" data-mid="1401598" border="0" /><img width="3730" height="3730" width_o="3730" height_o="3730" src_o="https://cortex.persona.co/t/original/i/5d374657af7afb9a807788a0e3f8a3d4da4be503752420750ea57d6d63d98175/FA-REF-0788-1.jpeg" data-mid="1401601" border="0" /><img width="3942" height="3942" width_o="3942" height_o="3942" src_o="https://cortex.persona.co/t/original/i/cbf162199fa5b42321aa6bac140762a735f701deb8508465e264c1230a3911b9/FA-REF-0793-1.jpeg" data-mid="1401599" border="0" /> A dialogue between two childhood friends is materialised in a limited collection of amulet-pieces in ceramics and beeswax. Between London and Porto and two different practices, both artists share ideas of protection, care and connection. The result is a limited collection of candle holders in black and white stoneware made by Pietra Galli, and beeswax candles made by Mafalda Costa. Each candle is made specifically to its holder, representing a joined force.Embracing is a collaborative project with artist Mafalda Costa. The project was exhibited at the group show Feira do Equinócio at Atelier Felipa Almeida, Lisbon, in 2024.~.~.~.~.~.~.~~.~.~.~.~.~~.~.~.~.~.~.~.~.~.~.~~.~.~.~.~.Um diálogo entre duas amigas de infância materializa-se numa coleção limitada de peças-amuleto em cerâmica e cera de abelha. A partir de duas cidades, Londres e Porto, e duas práticas, partilhamos sentimentos de proteção, carinho e conexão. A coleção é composta por peças em grés negro chamotado e branco feitas por Pietra Galli, e velas de cera de abelha feitas por Mafalda Costa. Cada vela pertence ao seu suporte específico, criada especialmente para o seu encaixe, representando uma força conjunta. Embracing é um projeto colaborativo com a artista Mafalda Costa. As peças foram apresentadas na exposição de grupo Feira do Equinócio no Atelier Felipa Almeida, Lisboa, em 2024. <img width="3594" height="3594" width_o="3594" height_o="3594" src_o="https://cortex.persona.co/t/original/i/c344b119ff63f44a606390837899c78b5878ddb32c84e8d6adcae44fd4c8fc21/FA-REF-0685-1.jpeg" data-mid="1401595" border="0" /><img width="3788" height="3788" width_o="3788" height_o="3788" src_o="https://cortex.persona.co/t/original/i/8874c152a22276f8834f73608584c51031a35efcb1d140a272d36db372f9f6ff/FA-REF-0789-1.jpeg" data-mid="1401597" border="0" /><img width="3718" height="3718" width_o="3718" height_o="3718" src_o="https://cortex.persona.co/t/original/i/3700b89456c0e5547873b589e4cf2e3a75fef07be03a07a6b14f7a7b9f103047/FA-REF-0791-1.jpeg" data-mid="1401596" border="0" /><img width="3838" height="3838" width_o="3838" height_o="3838" src_o="https://cortex.persona.co/t/original/i/f6919ca04f46c02bb9e5164e2ce6216a0505b93e467a832fb04949c175c2b6ff/FA-REF-0790-1.jpeg" data-mid="1401600" border="0" />&nbsp;Embracing, 2024.Beeswax, string, stoneware ceramics, underglaze pencil. Various sizes. Pictures by Filipa Pinto da Silva. Home Home A dialogue between two childhood friends is materialised in a limited collection of amulet-pieces in ceramics and beeswax. Between London and Porto... http://pietragalli.com/Tarot-Interviews Wed, 20 Nov 2024 13:33:22 +0000 Pietra Galli 454943 Tarot Interviews <img width="1125" height="1131" width_o="1125" height_o="1131" src_o="https://cortex.persona.co/t/original/i/4d772f92163b734e6ce758af491bcaa0957a9e3a70525675a57da7f1603ff10c/IMG_6966.jpg" data-mid="1385165" border="0" data-scale="17"/> A series of six interviews with six multidisciplinary artists for&nbsp;Schema Magazine’s first issue - Tilda’s Tale. Inspired by the magazine’s theme of ‘Building Castles in the Sky’ talking about prophecies and fortune telling, I developed twenty-four questions split into eight main themes: Fantasy, Challenge, Breakthrough, Blockage, Release, Advice and Intuition. The questions were written onto cards that were used to draw six questions for each interviewee, replicating the setting of a tarot reading and creating a unique combination of questions for each one. The recipients could reply to the questions in their own desired order and also had the option to replace one of the questions with a new draw if they wished to. FANTASY Can you name three women that are sources of inspiration for you? What childhood dream do you still want to accomplish?How has your idea of success changed over the years? CHALLENGE Can you describe a time when things didn’t go as planned but that worked out for the better? What has been the biggest challenge in your career so far? Do challenges make you feel more fearless or more cautious? BREAKTHROUGH What makes you feel powerful? Can you describe a time an illusion dismantled in front of you?Can you describe a time you experienced something magical? BLOCKAGE What is your creative process like? In what medium do you feel you express yourself the best? What helps you get out of a mental block? RELEASE When do you feel the most free? What is a scent or a place that makes you feel like a child again? What do you do to release bottled-up energy? ADVICEWhat piece of life advice have you received that has stayed with you? How do you keep yourself away from self-sabotage? What advice do you need right now? INTUITIONIs there an activity or a place that makes you feel more in touch with yourself?If you had a supportive imaginary friend what would they be like?What is the role of intuition in your work? DECISION Have you got a go-to ritual for when you need to think through a difficult decision?What has been the boldest move you have made for your career?Can you name a book, a film, or an idol that inspired you to make an important decision in your life and explain how?<img width="2160" height="2721" width_o="2160" height_o="2721" src_o="https://cortex.persona.co/t/original/i/57939f2d382b1715965cf114f613445e2ee44f9d75ee88f4bb7777f8fc0e1a7d/IMG_3034.jpg" data-mid="1401628" border="0" /> Sketchbook page with brainstorming: paper fortune teller. <img width="1400" height="905" width_o="1400" height_o="905" src_o="https://cortex.persona.co/t/original/i/dc6610d61cf7134cc92f731110778876d5457d1f7e4e1e3ce5f8bdce246183a5/schema_issue01_web_16-1400x.jpg" data-mid="1385178" border="0" data-scale="85"/> &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; Page with Nihura Montiel’s interview. Interviewees: Nihura Montiel Cecile BelieveMarina MelentievaEmma AlvinUrte KatAntje Peters <img width="750" height="1002" width_o="750" height_o="1002" src_o="https://cortex.persona.co/t/original/i/fe95128e83c375e7c606f76d35a3bd9aa9dbe0e840d7b0137146410e31fcc104/Captura-de-ecra-2024-11-20--as-13.57.31.png" data-mid="1385177" border="0" />Tilda’s Tale cover by Boris Camaca.&nbsp;Available to purchase here. Tarot Interviews A series of six interviews with six multidisciplinary artists for&nbsp;Schema Magazine’s first issue - Tilda’s Tale. Inspired by the... http://pietragalli.com/CV Tue, 04 Jun 2024 15:18:52 +0000 Pietra Galli 453236 Home ExhibitionsHard Water, Soft Stone, 2026. Curated by Susana Rocha - Duplex, Lisbon; Casa da Sogra, 2026. Curated by&nbsp;Renato de Cara e Eder Ribeiro - Galeria Gare, São Paulo; Órbitas, 2026. Organised by Gisela Projects - Taller Zaragoza, São Paulo; Lance, 2025. Curated by Marcos Moraes - MAB Annex FAAP, São Paulo; FEAST, 2024. County Hall Pottery, London;Fundraiser, 2024. San Mei Gallery, London;Embracing, 2024. Window installation with Mafalda Costa - North Street Potters, London;&nbsp; Ensaios de uma Coleção, 2024.&nbsp;Collaboration with Rita de Almeida Leite - Galeria Municipal, Porto; Feira do Equinócio, 2024.&nbsp;Collaboration with Mafalda Costa - Atelier Felipa Almeida, Lisbon; No More(Cruel) Optimism, 2023. Tenderbooks, London; Between There and Here, Us, 2023. SZN Gallery, London; Fertile Soil, 2022. V.O. Project Space, London; WAOH Youth Showcase, 2019. Dyson Building, London; Espionage, 2019. Project with Island Gravity - Inc.- Livros e Edições de Autor, Porto; Chelsea Degree Show, 2018. Chelsea College of Arts, London; Cue to Cue, 2017. Etcetera Theatre, London; Olympus UAL Photography Award, 2017.&nbsp; Art Bermondsey Project Space, London; &nbsp;Cognitive Faculties, 2016. Iklectik, London;Ceramic Workshops Amulet Making, 2026. Good Mood Pottery, London; Amulet Making, 2025. Atelier Ilca Barcellos, Florianópolis; Amulet Making, 2025. Badesc Foundation, Florianópolis;Amulet Making, 2023. SZN Gallery, London; Amulets, 2023. Ceramic workshop for families with IoDeposito -Consiglio Comunale, San Pier d’Isonzo; Strange Clay, 2023. Assisting Mud Gang Pottery - Hayward Gallery, London;Amulet Making, 2023. Corner Shoppppppp of Arte, AMP Gallery, London; Amulet Making, 2023. Collaboration with Sofia Borges - Atelier Miragaia, Porto; Education 2015-2018 BA in Fine Art, Chelsea College of Arts , UAL London 2014-2015 Foundation Diploma in Sculpture, CCW, UAL, London 2011-2014 Diploma in Theatre Production, Escola Artistica de Soares dos Reis, Porto Published Texts and Editorial Works Volcanoes and Voice Notes, 2025. Short text for Schema Magazine; Tarot Interviews, 2024. Series of artist interviews for Schema Magazine; Autobiografias ou o que se é enquanto se tenta ser, 2024. Introductory text for Francisca Sousa Soares - Urutau Publishing; Gestures of Maintenance, 2023. Exhibition text for Rita Leite’s exhibition&nbsp; Estender e Voltar - Campanice, Porto No More (Cruel) Optimism, 2023. Selection of texts for artist publication - Folium Publishing Artist interviews, 2020-2022. Coeval Magazine; Friday Exchanges, 2022. Weekly text with Island Gravity - online; Where Memories Live, 2021. Text and illustrations with Island Gravity - online; Island Gravity, 2020. Photography publication with Island Gravity,&nbsp;CAHIER d’Images, The Botanical Mind: Art, Mysticism and the Cosmic Tree, 2020. Exhibition review for Assemblage Magazine; Out of Office, 2020.&nbsp;Text and illustrations for Canal 180 Espionage, 2019. Artist book with Island Gravity; There is No Falling, 2019. &nbsp;Exhibition publication; Residencies and short courses Duplex Residency, 2026. Lisbon FAAP Residency, 2025. São Paulo Write the Wordless, 2024. Writing course with Compost Library, LondonAfter Illusion, 2020. Online Residency as the art duo Island Gravity Bursarys and Grants Eaton Fund grant, 2025 - UKWandsworth Youth Showcase Bursary, 2019 - UK <img width="1125" height="1131" width_o="1125" height_o="1131" src_o="https://cortex.persona.co/t/original/i/c2da05de2d8553419ef0108778fce7ca01be03c679d67dd2b69d9891cb4cdd1f/IMG_6966.jpg" data-mid="1366447" border="0" data-scale="34"/> // Exposições2026Exposição de grupo, Casa da Sogra Galeria Gare, São Paulo Exposição de grupo, Órbitas Gisela Projects na Taller Zaragoza, São Paulo 2025 Exposição de grupo, LanceAnexo MAB FAAP Centro, São Paulo &nbsp;2024 Exposição de grupo, FEASTCounty Hall Pottery, LondresExposição de grupo, Fundraiser,San Mei Gallery, Londres Instalação de montra,&nbsp;Embracing, Colaboração com Mafalda Costa, North Street Potters, Londres Exposição de grupo, Ensaios de uma Coleção,Colaboração com Rita de Almeida Leite, Galeria Municipal, Porto Exposição de grupo, Feira do Equinócio Atelier Felipa Almeida, Lisboa 2023Lançamento de publicação, No More (Cruel) Optimism Tenderbooks, Londres Exposição de grupo,Between There and Here, Us SZN Gallery, Londres 2022Exposição de grupo, Fertile Soil V.O. Project Space, Londres 2019Exposição de grupo, WAOH Youth Showcase Dyson Building, Londres Exposição de dupla e lançamento de livro, Espionage, Island GravityInc.- Livros e Edições de Autor, Porto 2018Exposição de grupo, Chelsea Degree Show Chelsea College of Arts, Londres 2017Exposição de grupo, Cue to Cue Etcetera Theatre, Londres Exposição de grupo,Olympus UAL Photography AwardArt Bermondsey Project Space, Londres 2016Exposição de grupo, Cognitive Faculties Iklectik, LondresOficinas de cerâmica 2025Direção de oficina, Amuletos em Cerâmica, Atelier Ilca Barcellos, FlorianópolisDireção de oficina, Amuletos em Cerâmica, Fundação Badesc, Florianópolis&nbsp;2023Direção de oficina, Amulet Making&nbsp;SZN Gallery, Londres Direção de oficina, Amulets: Ceramic workshop for families com a organização de IoDeposito Consiglio Comunale, San Pier d’Isonzo 2022 Assistência de oficina, Strange Clay com Mud Gang Pottery, Hayward Gallery, Londres Direção de oficina, Amulet Making Corner Shoppppppp of Arte AMP Gallery, London Co-direção de oficina, Amuletos em Cerâmica com Sofia Borges Atelier Miragaia, Porto Educação 2018 Bacharelado em Belas Artes, Chelsea College of Arts, UAL, Londres 2015 Diploma em Escultura, CCW, UAL, London 2014 Diploma em Cenografia,Escola Artistíca de Soares dos Reis, Porto Textos publicados e trabalho editorial 2025 Volcanoes and Voice Notes, texto, Schema Magazine 2024Entrevistas de Tarot, série de entrevistas de artista, Schema Magazine Texto introdutório, Autobiografias ou o que se é enquanto se tenta ser, por Francisca Sousa Soares, Editora Urutau 2023 Publicação, No More (Cruel) Optimism Publicada pela editora Folium Texto de sala, Actos de Manutenção para a exposição Estender e Voltar de Rita Leite Campanice, Porto 2022 Blog cultural, Friday Exchanges Island Gravity 2021 Entrevista, Call Me By Your Sign por Linda Zagidulina The Pluralist 2020 Publicação de fotografia, CAHIER d’images Island Gravity Crítica de exposição, The Botanical Mind: Art, Mysticism and the Cosmic Tree Assemblage Magazine Artigo e ilustrações, Out of Office Canal 180 2019 Livro de artista, Espionage Island Gravity, publicação independente Publicação, There is No Falling WAOH Youth Showcase, Londres Publicação independente Residências e cursos adicionais 2026 Residência Artística Duplex, Lisboa 2025 Residência Artística FAAP, São Paulo 2024 Curso de escrita, Write the Wordless Compost Library, Londres 2020 Where Memories Live Residência online com Island Gravity After Illusion Prémios 2025&nbsp; Recipiente da bolsa Eaton Fund 2019 Recipiente da bolsa Wandsworth Artists’ Open House Youth Showcase, Londres Home ExhibitionsHard Water, Soft Stone, 2026. Curated by Susana Rocha - Duplex, Lisbon; Casa da Sogra, 2026. Curated by&nbsp;Renato de Cara e Eder Ribeiro... http://pietragalli.com/Intermission-for-Activity-NMCO Tue, 27 Feb 2024 19:18:13 +0000 Pietra Galli 451980 Intermission for Activity <img width="1125" height="1131" width_o="1125" height_o="1131" src_o="https://cortex.persona.co/t/original/i/cdfd4845922b3b2a743d49ff1afcde78d4ab3409a2b188392ce8e14094604abf/IMG_6966.jpg" data-mid="1351154" border="0" data-scale="17"/> It starts with a piece of paper.It could be anything you find around you: a creased-up receipt, a loyalty card, a bookmark or a book page. Something you can write on with a pen or a pencil.&nbsp;This exercise won’t work on a phone. You need to feel the grab of the pencil, the pressure you apply on the piece of paper and the mark it’s leaving on it.Suddenly, words start to appear. Your handwriting might not be recognisable to you that day and there’ll probably be grammar mistakes. The sentence’s structure might not make sense either, you’ll even mix different languages without realising.&nbsp;Maybe what you’re writing isn’t exactly what you had in mind and it surprises you.&nbsp;The contents of what you’re writing don’t really matter though. What matters is the act of materialising an intangible part of you. That mark you leave on the paper becomes proof of your existence and a reminder that you’re also a body that takes space in the world. You start to remember you’re not just your confused mind space and gradually, begin to disperse the fog inside of you.Every once in a while, I find a lost note in a back pocket, inside a book or in a drawer. I don’t remember when I wrote it, or where I was, but I recognise it as an extension of myself and sometimes, previous selves. Published on the publication of the project No More (Cruel) Optimism, May 2023. <img width="1125" height="1770" width_o="1125" height_o="1770" src_o="https://cortex.persona.co/t/original/i/401eb6ef325c34aff0dcebc1460afb03e22d575d4930cb3110db33632a78cfab/IMG_5897.jpg" data-mid="1403769" border="0" data-scale="63"/> &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; Publication page with text. Intermission for Activity It starts with a piece of paper.It could be anything you find around you: a creased-up receipt, a loyalty card, a bookmark or a book... http://pietragalli.com/Circles-NMCO Tue, 27 Feb 2024 17:59:57 +0000 Pietra Galli 451977 Circles <img width="1125" height="1131" width_o="1125" height_o="1131" src_o="https://cortex.persona.co/t/original/i/28add3d4f0923346f33aa37783644eeabbf3ebef7f9e928d8719e905c46ddb31/IMG_6966.jpg" data-mid="1351147" border="0" data-scale="16"/> “There’s only transformation.”. I came accross this quote on one of my million notes from our meetings and research during No More (Cruel) Optimism. It’s a quote by Sin Wai Kin that I heard on the podcast episode Back to Earth: Queer Currents, which Romane had recommended on the group chat. I remember I was walking back home when I listened to it and how meditative and powerful it felt, which made me reflect on how our project has also been a healing and transformative experience for me.I thought of when we first met in person on the top floor of a former office building, now a temporary space for art studios. We had booked the room for a few days as a residency space and we had decided to call that first part of the project Fertile Soil, as it seemed to go in line with how we were approaching the next few days: an open space for nurturing and growing ideas. From the very first day when we were unpacking our works in this empty rectangular room, with a view to the city’s financial district, we naturally stood in a circle as we were having a conversation. There was something both distressing and safe about being in a circle. We had no choice but to face each other and be seen by each other, which at first felt intimidating but soon became a democratic space where we could speak our minds. In the following days, every time we went inside the building we had to sign in at the entrance and spell our foreign names to the recepcionist, write down the arrival time and our room’s number. There was something about this routine that made me feel our entrance was an intrusion. The building’s former purpose was still visible everywhere, through the carpeted floors, the long corridors with white cubicles, the motivational quotes on the walls and the communal kitchens, that were made of microwaves and filtered water. It had been a space made for practicality and over-production, which hugely contrasted with our purpose of experimentation and exchange with an open outcome.But as we met in the room forming one of our many circles, we developed a space that was going beyond its physical limitations. Looking back at it, I see us as some type of growing seedlings in the concrete. The ability to let ourselves go and fully dedicate to the exchanges that were happening during those days, while embracing all possibilities of what the project could be, has been deeply impactful to me and my practice. Accepting and nurturing transformation through collaboration might just be the least cruel form of optimism. Published on the publication of the project No More (Cruel) Optimism, May 2023. <img width="1125" height="862" width_o="1125" height_o="862" src_o="https://cortex.persona.co/t/original/i/068925fb2df90fc8cb897c8df672b2dccc8251f8ffd5dba0149f1b449657616b/IMG_5895.jpg" data-mid="1403767" border="0" />Publication page with text. Circles “There’s only transformation.”. I came accross this quote on one of my million notes from our meetings and research during No More (Cruel)... http://pietragalli.com/The-Letter Fri, 01 Dec 2023 16:21:08 +0000 Pietra Galli 450171 The Letter <img width="1125" height="1131" width_o="1125" height_o="1131" src_o="https://cortex.persona.co/t/original/i/77f3aeb0e6cf2601cc086bbd4363b3013e92b1e1ac65603ccfcabae6cafa75ea/IMG_6966.jpg" data-mid="1333183" border="0" data-scale="17"/> I remember going with my dad to computer booths in the shopping centre when I was little. He would be sending emails or using the telephone booth while I was playing computer games next to him (the only function I knew a computer had). There was a limited time and place to communicate digitally with others the rest of the time was dedicated to physical contact. Not because we had chosen to but because there was to some degree, an understanding of technology’s process: it took work to connect with people in different places, it took money too and space. The booths were large, the computers were chunky and the telephones heavy, to use them was an activity in itself. Nowadays, technology has become a member of my body. I don’t see it as heavy, time consuming, or as an expensive activity. It’s already part of me, a cognitive function. It allows me to be constantly in touch with other people: I can be sending messages, sharing personal information or receiving by simply looking at pictures and videos on social media, whenever I want, from wherever I am. It also doesn’t necessarily matter if the other person is available at the present time when I’m sharing something online. Every time I post a picture or write a message I can see who saw it and when, there’s no need for a reply for me to know if someone’s on the other side. The implication of the other is constantly there, even if there’s no actual exchange. Does one actually need others for a conversation today or is it enough to know they’re there? Recently, my mother brought a few objects she got from my grandparents’ place after they passed away; Objects she chose carefully, which brought her special memories and reflected my grandparents presence in some way. I was surprised by some of her choices at the time, they were objects like old diaries, or wrist watches that had stopped working long ago, chunky graduation rings... One of those items was a yellow and coverless recipe book from my great grandmother. While I was looking through it one day, I found many well kept ‘souvenirs’ in between the pages: a few cutout recipes from newspapers and flour packagings, a religious card and a letter from 1953, from my great great grandmother to her daughter in law wishing her a merry Christmas. The letter was a set of four pages that were now so fragile, creased and faded, but it still showed a fountain pen text with a glamorous hand writing. Finding it felt almost like finding an archeological artefact. I carefully handed its corners, tried to translate its faded message, and later scanned it, too afraid it would just crumble into pieces. It wasn’t necessarily a refined message, but they were words from someone I had only heard about and had never met. By reading her words and observing her handwriting I imagined her sitting down and writing it, started speculating how she acted, thought and spoke. A simple piece of paper was evoking this person’s presence, and as I observed the traces of book worms, its yellowness and oil stains, it became an object located in a time and a place. Showing its 65 years of life inside a recipe book, living through and witnessing all the activity in my grandmother’s kitchen. What intrigued me the most was the letter’s structure: its beginning showed a symmetrical text and a perfectionist layout, while its ending was a squeezed up text that barely fitted the sheet. I could see how the writer got excited with her story, with the news she was telling. I can understand how her thought progressed throughout the letter, how she made connections, and suddenly, new ideas came to mind, making her run out of space. Just like the computer and telephone booths took space, writing a letter did too. I don’t think about space or limits when I’m writing on a smartphone or computer today. To me it’s endless space, or at least that’s the impression it gives me. I can write as much as I want, I can change my ideas as much as I feel like, but I end up losing track of my thoughts, easily forgetting where they started and how they developed. I wouldn’t know what it is to depend on letters to communicate with others, for me it’s a choice to do it today, it’s an entertaining activity. Living in a different city made me want to write to my friends back home, to send them something physical from where I am that they could relate to and could keep with them. By doing that, I realised how writing a letter requires so many decisions and how much of it is about the receiver. Anything that is added to it will have an impact and a meaning on the one reading it. It’ll show how much effort I put into it, or how much I don’t, it’ll cause certain emotions... I’m in control of its entire content and I’m thinking about the other’s physical presence when opening the envelope. At the same time, I talk to my friends online everyday and they probably already have an idea of what I’m doing from the pictures I post. How can I make the letter’s content relevant when all the information is already out there? It requires time to think and select what I want to share and why I want them to receive that message. While I’m making these choices as I’m writing, my thought is in constant mutation and I’m not sure of where it’s headed, there’s always some unpredictability. It feels like a game. A few days later after posting the letter, I impatiently ask my friends if they received it. They have and now I impatiently wait for their response, as the game is not completed without it. Commissioned by and published on Canal 180 as part of ‘Out of office’, August 2020 <img width="3281" height="2511" width_o="3281" height_o="2511" src_o="https://cortex.persona.co/t/original/i/7021635437cf2392fb18a148ee899541edf0973555d5c2e236808aec50eb7780/carta-vo-erna-e-vo-rosa-1953-1.jpeg" data-mid="1333184" border="0" />The inside of the letter dating 22nd of December 1953 The Letter I remember going with my dad to computer booths in the shopping centre when I was little. He would be sending emails or using the telephone booth...