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Francesca Dalla Benetta

+ Biografía

The artistic path of Francesca Dalla Benetta begins with the studies in the Accademia of Brera's fine arts, Milan (1999-2003). The interest of Francesca centers on the topic of the hybridacion and contamination. The means she uses in this stage are photography, video art and drawings, mainly in the form of sketches. At the end of her cycle of studies, she elaborates a thesis about the " cyborg as contemporary hybrid”.
The approach to new and alternative materials, in order to create special effects in their videos, leads Francesca to explore the dimension of sculpture and FX in Movies’ Industry. Directed towards this new investigation, she starts to dedicate herself full time to special makeup, in the continuous exploration of her concept key, the transformation of bodies and the deformation, with the aspiration to create a world where reality and dream merge.

During this experience, Francesca, invited to work in Mel Gibson ́s movie, Apocalypto, comes to Mexico, where she decides to stay, and for 3 years more she has devoted herself to the special effects. During the last months of 2009, the need to give place and attention to the creation of her own universe leads Francesca to return to her origins, stepping outside the world of the cinema, to embrace sculpture and other means. Through sculpture, painting and drowings, she explores human and animal shapes merged in oniric creatures.
The new undertaken choice is based on a strong concept, a great impulse to experiment, supported by a wide knowledge of new materials, where the self-taught inspiration meets cinematographic realism. The research is still directed toward the bizarre and the grotesque, with greater attention to the search of sensations through fine textures and details.
Francesca works now with different galleries, art and film projects in Mexico City, and her work has been exhibit in numerous solo and collective shows (Galeria Velasco, Ex Teresa, Traeger y Pinto, Aguafuerte among others), and it has been published in specialized magazines and media (La Razon, Neuroblasto Magazine, LARevista, Distrito Global, canal 22, Foro Tv Televisa).


“My work is about the sensations suggested by grotesque anatomies. I want people to be intrigued by the possibility of impossible bodies, I want people to imagine the feeling of touch skins and textures.

My attention goes to the topics of hybridization, transformation, self identity and the bizarre. I’m inspired by the unusual, by what is behind the first impression, in shapes and meanings.

Through anatomical gallantry, exaggerated, hybrids, dramatic features, textures finely worked, I investigate about ancient and ancestral concerns: the identity, the transformation and spiritual evolution, the sense of belonging, the loneliness, the connection between humans, with the cosmos and with the divine. My work aims to explore the perception of oneself, sometimes in union with Oneness, sometimes in a desperate isolation.”


My favourite material is clay. I love touching what I use to create, it is one of the most pleasant sensations experienced, and it makes me stay really in tune with my art, through a very physical plan.

I have almost always the same process for every work, no matter the size. I first have the vision in my mind, generally in a very spontaneus way, in unexpected moments or in dreams. I sketch it down immediately, on any paper surface I can find. Then I look at it, and think about it and what it means to me. This way, I generate a series of more detailed sketches and some written notes. Then, when I feel it’s ready, I put it aside. After a while, may be days or months, if the sketches still move me, I act on them.

I shape light rigid poliurethan to the total volume, then I cover it with clay. Lately I use epoxic clay, so I can avoid molds (when I used to make molds, I destroyed them after the first casting). I work fine textures and meticulous details, with metal and wood sculpture tools. Epoxic clay dry in 1 hour and I need to have everything clear in my mind and work quickly. This is my favourite moment, when I need to do the hard and dirt work! Finally, I paint my works with oil painting, acrilycs, alcohol and vegetal inks, using different techniques, as brushes, aerography or splatter brushes, mixedand worked in layers, according to the effect I look for. I use a neutral dark colour pallette, that reminds me colours of nature.