Bianca Casady, one half of the duo Cocorosie (to whom DROME also dedicated the cover of The Sleep issue #10), boasts a kaleidoscopic personality and a creative nature without borders. There isn’t, indeed, field where this artist coming from Hawaii doesn’t give free rein to her imagination: from music to performance, from poetry to video installations, drawings and photography. Three years after her last exhibition, once again the artworks by such an eclectic artist animate the walls of the Galleria Patricia Armocida in Milan.

Her solo exhibition entitled Grasswidow showcases the product of her latest experimentations: a series of fifty artworks, mainly mixed media, which blend oneiric and grotesque elements, fluo colours and dark images, expressive ferocity and childlike naïveté. Thus, rainbows and dolphins live side by side with deformed faces and dark figures, while paillettes and colourful feathers are juxtaposed to occult symbologies, just like a Carnival party turning into a shamanic rite, and vice versa. “I’ve always enjoyed seeing things outside their natural environment. I detest when I see rich women wearing pearls, but I like it when it’s punks to wear them”, states Bianca talking about her taste for oppositions and the most unlikely combinations. Her research doesn’t envisage gender difference, thus achieving provocative croosbreedings between male and female, Apollonian and Dionysian, nature and artifice. She herself embodies these antitheses, as she loves to alter her look with extravagant make-up or very unconventional ornaments, such as the lace collar from which (someone else’s!) locks of hair hang, and which she donned during the vernissage.

Gem of the exhibition is the video Buck Toothed Grieving, all played upon ambiguity, with a nightmare feel and images on the border between decadence and purity. Eventually, the word chosen for the solo exhibition has a very little optimistic meaning: “grasswidow”, in fact, refers to a woman whose husband is often away for long periods, in a broader sense, it implies someone who finds himself in an eternal state of waiting. Does such negative aspect reflect either a personal state of mind or a more general modern atmosphere? “It’s hard to say”, states Bianca, “I’ve always had the feeling that my work is very personal, though it doesn’t deal with something biographical.”

text by Francesca Cogoni
photo portraits by Carlo Beccalli for DROME magazine

Galleria Patricia Armocida

Milan, until March 23, 2012