Alessia Bayro

The series explores the body as a space for identity construction. Starting from an aesthetic linked to fetishism, the female figure initially appears protected by a second skin that acts as a mask and allows inhabitation of a liberated character. Through gestures such as tightening or removing, the paintings construct a sequence where undressing is not erotic, but a process of eliminating layers of control. Thus, the work moves from the constructed to the intimate, showing a vulnerability where power, desire, and exposure coexist, while the fragmented body becomes a territory of narratives.

1 works in the series

This series starts from the creative act understood as a process of construction, decomposition, and reformulation of the image. Hands occupy a central place, not only as a work tool, but as a visible extension of thought and gesture. The compositions are situated in an indeterminate space, closer to an inner territory than to a recognizable place, where focal light and saturated colors intensify the latent energy of the creative process. Through it, the series posits painting as a space for exploration and self-investigation, in which the image is not presented as something closed, but as a form in constant transformation.

2 works in the series

Alessia Bayro places the female body at the center of her plastic discourse, addressing humanity's self-destructive tendencies. In dialogue with Zygmunt Bauman's concept of “liquid modernity,” her work questions the carnality and solidity of the body in a contemporaneity marked by immateriality, immediacy, and the virtual. The coexistence of the beautiful and the disturbing manifests in a pictorial language that combines deep technical analysis with disruptive force, where the skin ceases to operate as a border with the outside world. The tearing of flesh projects the idea of the body as residue, evidencing a vulnerable and transforming condition. The aesthetic of the wound is posed as a symbolic expression that contrasts with the canons of beauty and bodily perfection, revealing a deep longing to experience the flesh and the need to be fully aware of the present.

3 works in the series

This series portrays femininity through a fragmented narrative, where hands, skin, and floral elements create a tension between desire and destruction. The body is presented disarticulated in gestures that focus attention on the tactile, while the flower, traditionally associated with the feminine, is subjected to a pressure that deactivates its ornamental character, reminding us that all that blooms can also break or wither. The gesture of the hand, between tenderness and violence, introduces an ambiguity where care and control overlap. In Woman Among Lilies, nature envelops the figure, suggesting enclosure and configuring a femininity that is thoughtful, contained, and expansive at the same time.

4 works in the series