Caterina Roppo | The Interweaving of Art, Incalmi, and Trayma

Caterina Roppo, winner of the “Business for Art” Special Prize created in collaboration with the company Incalmi, narrates herself following the creation of “Il Vuoto di Trayma” project. The artwork is currently exhibited in Arte Laguna Prize spaces at the Arsenale Nord of Venice.

My artistic journey began in the world of fashion. After completing my studies at Polimoda in Florence, I pursued a career in design, quickly discovering a strong inclination towards material experimentation. A notable example of this passion was my first award-winning project: a knitwear collection made using repurposed videotape ribbons, showcased in luminous installations.
This was a time when the concept of sustainability was not yet widespread.

At 26, I decided to move from Florence to Milan, where I co-founded an art consultancy agency with four partners. Shortly after, I became a partner in a second agency specializing in trend research and textile experimentation. By the age of 27, I was heading the research department for Italy’s most important textile trade show, the second-largest in the world.

During those ten years, I had the privilege of collaborating with the elite of the Italian textile industry—a vital part of our cultural heritage. Leading companies relied on me and my team to develop innovative experimental materials. It was an extraordinary experience for which I am deeply grateful.

At the same time, I nurtured a profound interest in mental health, driven by personal reasons and a decade-long therapeutic journey. After enduring post-traumatic stress disorder due to a severe trauma, I felt compelled to open a dialogue on this topic.

I’ve often wondered why accessing psychological therapy is so challenging when seeing a doctor for a cold is considered normal. Given that the brain is our body’s most critical organ, I decided to use my creative talent to spark conversations about mental hygiene. My works aim to become traveling spaces for dialogue, hosted in museums and galleries. I firmly believe that art, with its expressive power, is the ideal medium for tackling uncomfortable and complex subjects.

The work that has been presented in November, thanks to Arte Laguna Prize, will be accompanied by a journal* documenting the entire research process. This book resonates with a word that, for Patrizia (founder of Incalmi) and me, has acquired an almost cosmic dimension: “transmission”. The project I submitted to the competition explores new scientific discoveries in the realm of DNA, particularly the epigenetics of trauma. I focused on genetic mutations caused by trauma, pondering their generational consequences and prevention possibilities.

Incalmi, with its multifaceted nature and mastery of specialized techniques, proposed using fired enamel for the prize. Upon meeting Patrizia for the first time, I was captivated by the extraordinary potential of this technique—a true heirloom of Italian tradition that has risked being forgotten since the 1970s. The shared intent to delve into the concept of heritage created an immediate and profound connection.

The philosophical and material research naturally intertwined, making enamel a symbol of the deliberate actions we can take to alter our genetic and spiritual destinies. We experimented with other materials as well, creating a synergy between stone (a symbol of my research), fabric (my vocabulary), enamel (Incalmi’s language), and copper, which we used to encase voids, inventing a new material for Trayma.

*The journal is readable at the Arte Laguna Prize exhibition spaces or can be requested to Incalmi.

The transition from plastic to performative art in my journey was inevitable. During the years dedicated to exploring the self, I realized that the mind and body must move in synchrony to enable real transformations. I delved into ancient traditions, celebrations, and various forms of prayer, discovering that humans in the past were more aware of the importance of this connection. Consider yoga, for instance, which perfectly embodies the union of mind and body in balance and the quest for self-awareness.

My first performance, in Milan, was an experiment where I invited six individuals to cross the gates of pain with me, using breath as a tool for transmission and protection. This process allowed us to leave pain within the stone while preserving memories. The emotion felt by those present was extraordinary.
For the presentation of the “Il Vuoto di Trayma” (Void of Trayma) at the Arsenale Nord, I wanted to involve observers in a performative approach. However, for logistical reasons, we decided to keep the installation within the plastic realm. This choice, though, opens the door to future collaborations and new opportunities to merge these approaches—potentially in synergy with Incalmi and Arte Laguna.

The “Il Vuoto di Trayma” is the culmination of a long reflection process that includes both the installation and the philosophical research behind it. Starting from studies on epigenetics and the need to create a visual element representing them, I explored various trauma-related themes. My initial focus was the Holocaust, as this research field originated there. The material itself then guided me to address femicide—almost like an intuition.
I have always considered the artist as a medium rather than a generator, and this was particularly evident in this case.

The work represents a void—the presence of absence. The copper coating over the fabric emphasizes the absence of the body, turning the fabric into a skin occupying an unnatural space. The irregular geometric forms of a garment that should cover a body underscore the “violence” endured, while Trayma’s striations emerge to express exactly this. Stones, symbolizing family, are embraced by red-enameled sections, signifying what remains imprinted in the genetic fiber.

Prevention becomes even more urgent when considering the consequences of such a long trauma chain, leading to the conclusion that the children of those who perpetrated violence may bear effects from the children of those who suffered it—an endless cycle. However, the work also addresses meditation, using stone as a symbol of stoic calm and resilience.

In the context of reprogramming our genetic heritage, recent studies are examining the effects of meditation on genetic programming and disease prevention, suggesting a placebo-like effect—without the sugar. In this sense, the work has a therapeutic dimension, inviting the viewer to reflect on how awareness and meditation can break this trauma chain and regenerate the weave of our existence.

Regarding upcoming exhibitions, I have a solo show on September 26 at Palazzo Pallavicini Rospigliosi in Rome, curated by Domenico De Chirico. We’re also discussing a solo exhibition in Mallorca, where my studio is located.

Among my goals for 2025 is to delve deeper into writing—philosophy is already a part of my research, and “Il Vuoto di Trayma” will be my first publication combining research and philosophical reflections. I want to spend more time in Milan, where I live part of the year, opening my living room to discussions on trauma. A monthly gathering of creatives: artists, writers, and philosophers…

I am very grateful to the Arte Laguna Prize for this opportunity, which exceeded my expectations. Through this project, I’ve had the chance to develop other collaborations with Incalmi—they’ve invited me to participate in Edit 2024, presenting a research project in the Cult section. The project, titled “Galateo Ancestrale”, is a textile dialogue inspired by the theme of breath.

The special award from Arte Laguna Prize has helped me in many ways. It has allowed me to explore areas like writing, brought me back into the artisanal environment I missed after years of working alone in my studio, and opened several research channels.

Beyond these immediate results, I foresee it being an excellent springboard for future connections.
I’ve already applied for the next edition!

Read the Press Release →
Photo credits: Serena Eller