Egle Oddo

Finland (residence), Italy (citizenship) °1975
research interests: performance, visual arts, vegetal biodiversity, installation, site responsive practices, Site-specific, photography
en

Egle Oddo b. 1975 in Italy, abitur in Classical Studies 1994, received her Master degree from the Academy of Fine Arts of Palermo in 2001.
Her work focuses on linear and non-linear narration as an art form. Interested in operational realism, meant as the presentation of the functional sphere in an aesthetic arrangement and its inter-relations, she combines photography, moving image, installation, sculpture, environmental art, and experimental live art. In her pieces industrial production morphs towards delicate handcraft, life forms appear and emerge out of sculptures and objects, film photography appropriates digital images, selected trash mixes with fashion, precious edible minerals and ancestral recipes are served as part of ritual meals. Her work is present at international biennials, museums and relevant institutions, as well as cutting edge and independent alternative spaces and events.

She lives and works in Helsinki. She is chair of Pixelache trans-disciplinary platform for experimental art, research and activism, and board member of Myymälä2 contemporary art gallery.

 

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  • Evolutionary Gardens and Performative Habitats (2021) author(s): Egle Oddo published in: RUUKKU - Studies in Artistic Research
    My interest for plant seeds dates back to my early experiments during the '80, when I collected seeds in urban and rural contexts and translocated them in new habitats. Since then my work has taken different directions. At present I create public art works by installing living sculptures which I denominate as evolutionary gardens. The process behind this practice went through a long transformation recently enriched by the contribution of art curators with whom I engage in long term dialogue. This article explores the process of research between 2007-2017, it describes how I become reflective about my viewing and doing, how I progressively opened the work to multiple influences, and how this has generated a better integrative approach leaning towards the complexity of cognitive structures. Finally I asked a set of questions to the curators who worked with me, with the aim to offer the reader a direct view on the diverse approaches intertwined with my practice.
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