“Innocence at the Peril of the Soul” is a wall-mounted ceramic installation composed of thirty glass bottles fixed onto a wooden structure. Each bottle contains colored water and a small glazed terracotta sculpture representing a fetus. The ceramic forms are submerged in the liquid, giving the impression of being suspended in a fragile, enclosed space.
The repetition of the bottles creates a visual rhythm, transforming the installation into a sort of constellation of images. Each container acts as an autonomous space where the figure of the fetus is isolated from the outside world. The glass, transparent yet sealed, functions as a symbolic boundary between the interior, associated with gestation and the origin of life, and the exterior. In this work, the fetus represents the innocence and vulnerability of a life yet to come. The repeated presence of these forms emphasizes the idea that these potential lives do not yet have the capacity to make decisions about their own destiny. The installation thus evokes situations in which crucial choices belong to the people carrying the pregnancy.
The different colors of the water introduce an additional symbolic dimension. They suggest the diversity of experiences, contexts, and decisions that pregnant women may face. The colors thus become a metaphor for the multiple possible trajectories, some shaped by personal choices, others influenced by social, economic, or migratory circumstances.
