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whose practice spans traditional media and the digital realm, navigating the intersection of cultural vagabond, feminism, and pure joy. <\/p>\n\n\n\n
Philosophically, her current practice is informed by the social theorist Hartmut Rosa, particularly his theory of resonance and his concept of Unverf\u00fcgbarkeit<\/em> (unavailability)\u2014the limits of control in our relation to the world. Grounded in material process, building on Rosa\u2019s framework, her work probes embodiment and its refusal, cultural memory, and the productive tension between figuration and abstraction.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n\n
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Born in Europe, she studied Fine Art and graphic design at Blocherer College in Munich.<\/span>+<\/span><\/button><\/h3>\n\n\n\n\n
Early in her career, she joined an independent art collective producing street-based interventions and public installations in The Hague and Berlin.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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In 1992, she relocated to Cape Town<\/span>+<\/span><\/button><\/h3>\n\n\n\n\n
and moved into the emerging field of digital graphic design for the early World Wide Web, founding ALGORITHM, a bespoke web design studio.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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In 1999, she co-founded ANPA, a contemporary jewellery studio,<\/span>+<\/span><\/button><\/h3>\n\n\n\n\n
and for over twenty years developed a design practice defined by precision, scale, and technical rigour. Alongside her ongoing work as artistic director for ANPA,<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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from 2013 to 2021 she directed ODA Fine Art Gallery, <\/span>+<\/span><\/button><\/h3>\n\n\n\n\n
curating ambitious group and solo exhibitions that foregrounded contemporary artists from across the African continent and helped build an internationally visible platform for exchange. ODA also facilitated artist residencies and participated in art fairs on the continent and in Europe, including London and Madrid.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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In 2022, Patrizia encountered clay\u2014a medium that profoundly shifted her artistic language.<\/span>+<\/span><\/button><\/h3>\n\n\n\n\n
Its malleability and openness to spontaneity disrupted her previous way of working. Clay introduced a new way of seeing: one that embraces imperfection, unpredictability, and scale. Her sculptural work now bears the imprint of her detailed past while simultaneously rebelling against it. Each piece holds both structure and surrender\u2014traces of precision interwoven with the unexpected, celebrating the beauty of the unplanned.<\/p>\n\n\n\n
She has pursued advanced professional development through intensive workshops and masterclasses in sculpture and forms that move between figuration and abstraction, alongside specialist study at the Accademia del Giglio, Florence (2025).<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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She is currently completing an MA in Fine Art (online) at Falmouth University<\/span>+<\/span><\/button><\/h3>\n\n\n\n\n
and lives and works from her studio south of Cape Town.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Recent exhibitions (full list to follow)<\/span>+<\/span><\/button><\/h3>\n\n\n\n\n
DisSolution<\/strong>, with the Fire Horse Collective, 20 March-20 June 2026, virtual exhibition on Kunstmatrix<\/p>\n\n\n\nSOLO STUDIOS, Art Festival <\/strong>24 October\u201326 October 2025 \u00b7 Riebeek Valley <\/p>\n\n\n\nKALEIDOSCOPES <\/strong>30 August\u201320 September 2025 \u00b7 Association of Arts, Pretoria <\/p>\n\n\n\nANNUAL MEMBERS EXHIBITION (curated) <\/strong>26 July\u20137 August 2025 \u00b7 Ceramics Southern Africa \u2013 Western Cape \u00b7 Spin Street Gallery, Cape Town <\/p>\n\n\n\n100% DESIGN <\/strong>24 July\u201327 July 2025 \u00b7 Sandton Convention Centre, Johannesburg <\/p>\n\n\n\nGROUNDED PRACTICE (curated by Tamlin Blake) <\/strong>26 May\u201314 September 2025 \u00b7 Spier Wine Farm, Stellenbosch, South Africa <\/p>\n\n\n\nSIMPLICITY <\/strong>Summer 2024 \u00b7 ANPA jewellery & fine art gallery, Kalk Bay, South Africa <\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":87,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"pages-1","meta":{"_eb_attr":"","footnotes":""},"class_list":["post-58","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=\/wp\/v2\/pages\/58","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=58"}],"version-history":[{"count":29,"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=\/wp\/v2\/pages\/58\/revisions"}],"predecessor-version":[{"id":1515,"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=\/wp\/v2\/pages\/58\/revisions\/1515"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=\/wp\/v2\/media\/87"}],"wp:attachment":[{"href":"https:\/\/www.ellipsis.pink\/phl\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=58"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}