BIO:
Marianna is a multidisciplinary artist working across performance, film, and video art. Her practice explores the interplay between imaginary worlds and lived realities, often drawing inspiration from trees, moss, and the sea — recurring motifs that intertwine with myths, ancient tales, and utopian narratives.
Born in Rome, Marianna developed her artistic path between London and Berlin, with a particular grounding in London, where she completed her Master’s degree at Central Saint Martins. Her background in film includes experience in production and as a directing assistant, which continues to inform her evolving practice.
Today, Marianna’s work spans multimedia installations, curatorial projects, and creative direction. Collaboration lies at the heart of her practice, bringing together diverse voices, perspectives, and forms of life to shape imaginative and immersive experiences.
Born in Rome, Marianna developed her artistic path between London and Berlin, with a particular grounding in London, where she completed her Master’s degree at Central Saint Martins. Her background in film includes experience in production and as a directing assistant, which continues to inform her evolving practice.
Today, Marianna’s work spans multimedia installations, curatorial projects, and creative direction. Collaboration lies at the heart of her practice, bringing together diverse voices, perspectives, and forms of life to shape imaginative and immersive experiences.
ARTIST STATEMENT:
My practice is not a direct path from A to B, but rather a process, an exploration, a wandering, a form of research. I resonate with the ideas of Francesca Von Hasburg who describes art as an aid for process driven solutions instead of goal driven ones1; art is a process of discovery, learning, unlearning and sharing, instead of telling what to do, it invites reflection and embraces the centrality of emotion; putting it on the same level of intellect.
My work reflects on themes of hybridity, utopia, and collaboration. I am interested in the spaces where boundaries dissolve: between human and nature, myth and reality, organic materials and machines. I see hybridity not only in form and material, but also in time—not as a linear progression, but as a cyclical, ever-shifting process of transformation in which we are constantly moving.
Utopia emerges in my work as a form of resistance to dominant ideologies such as capitalism. I consider art a space for imagining alternative futures—especially in a world that often feels weighed down by complexity and a sense of hopelessness. In this context, the act of creation becomes a way of carefully untangling systems, revealing new possibilities for how we live, relate, and care. I don’t see utopia as a flawless solution, but as a tool for reimagining the world—grounded in transformation, not perfection.
Collaboration is closely tied to these ideas, particularly in response to the dominant Western ideology of separation and othering: wilderness vs. civilization, white vs. non-white, human vs. non-human. These binaries are deeply rooted in Western philosophical traditions, which separate intellect from emotion, and rational culture from the so-called primitive or natural subconscious. Such dichotomies have become so embedded in our ways of thinking that they form the very frameworks through which we understand and study the world.
Through art I seek to subvert these separations by exploring stories of collaboration and symbiosis—of embracing rather than excluding, of empathy, mutual aid, and shared becoming. Through these narratives, I believe we can begin to trust in the possibility of building new worlds.
Much of my work draws on ancient myths and stories. I like to observe them, learn from the past sometimes with a critical eye. I like to rewrite their stories.To Breathe at the Pace of the Sea is one such example. It dreams of a more interconnected, hybrid future—one that embraces the attuned rhythms of the pre-industrial world. Moreover, it offers a visual rewriting of creation, not as a hierarchical act imposed from above, but as something shared, held, and nurtured in relation.
My practice is not a direct path from A to B, but rather a process, an exploration, a wandering, a form of research. I resonate with the ideas of Francesca Von Hasburg who describes art as an aid for process driven solutions instead of goal driven ones1; art is a process of discovery, learning, unlearning and sharing, instead of telling what to do, it invites reflection and embraces the centrality of emotion; putting it on the same level of intellect.
My work reflects on themes of hybridity, utopia, and collaboration. I am interested in the spaces where boundaries dissolve: between human and nature, myth and reality, organic materials and machines. I see hybridity not only in form and material, but also in time—not as a linear progression, but as a cyclical, ever-shifting process of transformation in which we are constantly moving.
Utopia emerges in my work as a form of resistance to dominant ideologies such as capitalism. I consider art a space for imagining alternative futures—especially in a world that often feels weighed down by complexity and a sense of hopelessness. In this context, the act of creation becomes a way of carefully untangling systems, revealing new possibilities for how we live, relate, and care. I don’t see utopia as a flawless solution, but as a tool for reimagining the world—grounded in transformation, not perfection.
Collaboration is closely tied to these ideas, particularly in response to the dominant Western ideology of separation and othering: wilderness vs. civilization, white vs. non-white, human vs. non-human. These binaries are deeply rooted in Western philosophical traditions, which separate intellect from emotion, and rational culture from the so-called primitive or natural subconscious. Such dichotomies have become so embedded in our ways of thinking that they form the very frameworks through which we understand and study the world.
Through art I seek to subvert these separations by exploring stories of collaboration and symbiosis—of embracing rather than excluding, of empathy, mutual aid, and shared becoming. Through these narratives, I believe we can begin to trust in the possibility of building new worlds.
Much of my work draws on ancient myths and stories. I like to observe them, learn from the past sometimes with a critical eye. I like to rewrite their stories.To Breathe at the Pace of the Sea is one such example. It dreams of a more interconnected, hybrid future—one that embraces the attuned rhythms of the pre-industrial world. Moreover, it offers a visual rewriting of creation, not as a hierarchical act imposed from above, but as something shared, held, and nurtured in relation.
CURRICULM VITAE:
AD/Runner – Indigo Film, Rome/Naples
JUNE 2020 — AUGUST 2020
- Roles: Accompany actors to costume, makeup, and hair departments, and on set; facilitate communication between departments; be available for any on-set needs.
- Skills acquired: Time management, meeting deadlines, self-organization, and teamwork.
- References available upon request.
Assistant Director (AD) – Tower Hill School, London
FEBRUARY 2022 — MAY 2022
- Roles: Managing young actors and extras, ensuring punctuality on set, and supporting script supervision.
AD – Night Swim, Rome
OCTOBER 2022 — DECEMBER 2022
- Roles: Assisting the director as needed, contacting collaborators, taking notes for the director, and assisting with the casting process.
Assistant Producer – Fomo Productions
MARCH 2023
- Logic 1000 Music Video, Berlin
- Roles: Organization of pre-production and production.
Artist and Curator – Ori Berlin
MAY 2023 – UNAFORMA
- Roles: Contacting venues and collaborators, creating an invitation list, organizing the space from both practical and artistic perspectives, installing my work, and assisting other artists with their installations.
Artist and Curator – London
MARCH 2024 – Peristrefein
- Roles: Contacting venues and collaborators, creating an invitation list, organizing the space from both practical and artistic perspectives, installing my work, and assisting other artists with their installations.
Curator – Rome
AUGUST 2024 — SEPTEMBER 2024 – Essere Con
- Roles: Selecting artists and curating their installations within the exhibition space.
Creative Director – Miguel
OCTOBER 2024
- Roles: Developing the treatment, location scouting, co-writing the script, and casting.
Education
BA in Film and Television – University of the Arts London (LCC)
2019–2022
Master’s Degree in Multidisciplinary Arts and Curating at Central Saint Martins.
2023-2025