A young artist, at her first solo show, helps us to see, perhaps for the first time, the subtle threads of clandestineness insinuate themselves even in the most unexpected places, as in the reassuring life of the housewife, a woman taking refuge in four walls that protect or hide her , hiding, from the outside, the mistreatment suffered every day. Cages full of domestic objects that Rachele Sotgiu reinterprets by disseminating them in the most appropriate space, an ancient Campidanese house in Nurachi, now the Peppetto Pau Museum.

First solo show of the young Rachele Sotgiu who connotes the domestic dimension of the museum space by disseminating it with works, tangible signs of female presence, a place inhabited by women, by housewives, clandestine figure of our society, refugee of the four walls that protect her, “private casket ” as the artist defines it, in which to invent and guard her own world made up of small everyday things but also a prison that exposes her to abuse and mistreatment.

The search and discovery of one’s individuality becomes imperative, in overcoming the acceptance of the separation of roles, the dimensioning of one’s social position, the moral duties to be respected and the impulses to be repressed. The daily mystery, the grace of the feminine, together with the drifts of solitude, the carelessness of oneself mixed with the forgetfulness of the world chase each other through the rooms, bringing with them a swarm of real objects that return and bring back reality. And if “not even psychology is able to solve the enigma of femininity” as Freud says, it is just a matter of admitting its intriguing and essential value.

Event created in collaboration with the Dromos Festival