Maddalena Mora

Visual artist whose work draws from deeply personal experiences, translating emotions into sculptural forms. Often working with natural and reclaimed materials such as granite, stone, and aluminum, she explores the persistence of memory through transformation. Her installations highlight the tension between heaviness and fragility, permanence and erosion, offering tactile reflections on loss, origin, and time. Through her layered and intimate approach, Mora evokes what is felt more than what is seen, grounding her work in emotional resonance and material honesty.

In conversation with Maddalena Mora during the exhibition Oltre la pietra at Castelgrande, Bellinzona.

Tell us about the project you exhibited at Oltre la pietra

I spontaneously decided to have the courage to present a work called Memorie, with the addition of a new part. These two pieces speak of two important memories linked to people who are no longer here. One is about my grandmother, and the other is about my father. Both works contain something of their touch. The river piece was sewn together with my grandmother. It was meant to be 20 meters long, but at 19 meters, she asked me to stop sewing. The second piece is about my father. These granite stones were chosen together with him. When he passed away, I decided to include them and bring them with me to this exhibition, as a memory that endures through time. The story of the castle and the positive energy of the Matazz group reminded me of an embrace that protects and keeps you safe. That’s why I felt confident that by bringing these two dear works with me, they would be kept safe.

What’s one of the challenge you face the most as an artist?

Contemporary art is no longer just about technique, although I often find myself visiting artisans in their workshops and bothering them until they teach me what they know. That’s why many artists develop their own techniques, and the final result can appear very simple to the viewer. That’s when you often hear the comment, “I could do that too.” One of the challenges I face is not being understood or recognized, and this affects not only visibility and appreciation but also fair compensation and access to proper space, especially when creating sculptures. More than once I’ve been given a space to exhibit, only to find out it wasn’t really suitable for what I had planned. I never lack ideas or the will to create, but too often the conditions make it hard for an artist to fully express themselves.

How do you start a new project?

The impulse or the starting point for any of my work is deeply emotional, and emotions are not always visible. Feelings, what we experience internally, are often hidden, so I try to find a way to give them form. I usually begin with a feeling, something ephemeral and personal, and then I try to transform it into something that others might also be able to perceive. Of course, each person will relate to the work in their own way. I try to choose materials that reflect the emotions I want to convey. I often work with boulders, stones, or granite, which for me represent a “heavy” feeling. So it feels natural to look for something solid, and in this case, the material also connects to the theme of the stone castle.
I think that in any context, artists have always lived in a special way, often misunderstood. I too often feel misunderstood, not only by society but sometimes even by family and friends who struggle to connect with what I’m trying to do. An artist is not like an engineer who repairs something useful. An artist is the creator of ephemeral things, things that need to be seen and absorbed. So yes, I often feel misunderstood, but happy.