ciao frabosana //

artist residency and exhibition at Stone Oven House, Rorà, Italy
2025

ciao frabosanas
sei gentile
letting me borrow your protection
use your protection
to tell part of your story
la lana
forte
lungo
durevole
tollerante
fibers that extend beyond the ones in the north
at least the ones I’ve meet
la nostre lana è bianca
sfumato
con un leggero marrone
fermo
morbido
my italian still isn’t the best
but working with you, pecore, and living in your area has improved it
I try to honour you
potente
resistente
fibre fini e sottili
più forte quando combinato
however smelly
here together with the story of some stoneware, you helped the shapes become alive
traces are present
and learning is a continuity
I will continue
you’re purpose has an aim
you are worth protecting
caring for the gift that you give
that you were forced to deliver
we might as well try to incorporate systems that align
here’s a love letter - lettere d’amore
a symbiosis of your colours
however I have never meet you
but I feel like I know you
maybe I will meet you one day

xox
ida-simone
during the residency at Stone Oven House, a series of sculptures were developed in connection to an environmental commentary on the production systems of sheep, where the worlds don’t always work together. often the production of breeds for either milk, meat or textiles don’t communicate well together leaving a waste production or potential use at a loss. in this case being the potential use of the wool from the local frabosana sheep.

I was working with the wool from the local sheep in multiple ways through sculptures, structures, felt and fibers. the wool was generously provided by a local shepherd in Rorà. I was researching the relationship between wool and clay stoneware through an experimental spraying technique with different fibers. this research and work has been done together with a local ceramicist Emilio Romano. together we also build a temporary kiln outside, in which the pieces were fired. the clay sculptures are made out of dry wood, leaves from the surroundings of the plentiful mountains, together with the parts of the wool that I couldn’t use for felting and textile production. the final exhibition explored the research and works that has been done during the residency. these experiments will in the future be continued in order to better understand the traces of the wool in clay and how they behave in the kiln as well as ongoing research about the durability of both wool and clay.



‘ciao frabosana 1-7’, 2025
approx. /60 x 50 x 50cm/

during the residency at Stone Oven House, a series of sculptures were developed in connection to an environmental commentary on the production systems of sheep, where the worlds don’t always work together. often the production of breeds for either milk, meat or textiles don’t communicate well together leaving a waste production or potential use at a loss. in this case being the potential use of the wool from the local frabosana sheep.

I was working with the wool from the local sheep in multiple ways through sculptures, structures, felt and fibers. the wool was generously provided by a local shepherd in Rorà. I was researching the relationship between wool and clay stoneware through an experimental spraying technique with different fibers. this research and work has been done together with a local ceramicist Emilio Romano. together we also build a temporary kiln outside, in which the pieces were fired. the clay sculptures are made out of dry wood, leaves from the surroundings of the plentiful mountains, together with the parts of the wool that I couldn’t use for felting and textile production. the final exhibition explored the research and works that has been done during the residency. these experiments will in the future be continued in order to better understand the traces of the wool in clay and how they behave in the kiln as well as ongoing research about the durability of both wool and clay.


Texture based sculpture showing the inhibition of chronic body pain. A culmination of inhibitions I have felt throughout my life, an analysis of constraining factors and body pains and how the body all of a sudden cannot do what it is suppose to or could before. Yet a optimistic approach to the never ending pain. The texture of the textiles are mimiking and drawn from pain, bones, textures within the body. It reflects on positivity in the face of pain through colors. It depicts how I relate to my pain through an optimistic lens, that I carry because the inhibition will not subside. The sculpture focuses on the pain in the ankle area. The sense of losing control, feeling numb, stuck and caught in ones movement. A certain wobbly feeling apears around the ankles which limits walking. The sculpture allows people to feel the pain when stepping into it, without me giving an explanation. longlasting handcrafted techniques are mixed, such as weaving, machine knitting and hand knitting, only made out of reclaimed and repuposed materials, such as foam, cotton, organza, linen, thread and knitted yarns. an exploration of sensitivities. M