Domesticity is the mother of all revolutions, because all others trace back
to it.
A self-portrait in constraint: born in the domestic, the home moulds the body, the spirit and its roles. Positions learned in private are worn in public. It is the first reliquary, holding rituals and heirlooms, inscribing both body and spirit with its codes. The domestic, turned uncanny, becomes the womb of the system - the site where intimacy, confinement, and identity are first inscribed.
Bianca Censori’s first work BIO POP stages the body inside the language of the domestic. She begins in a kitchen, baking a cake, before carrying it into a dining room where women - masked, dark-haired doubles of herself - are restrained inside her sculptural furniture.
The furniture recalls padded medical crutches, extensions of the body that appear when it falters - shearling, bone-colored upholstery, brushed metal frames. Each piece is not passive support but an apparatus that moulds the body, turning comfort into confinement and domesticity into architecture. The doubles inside the furniture become extensions of the design, collapsing the distinction between object, body, and idol.
The cake, baked in performance and carried to the table, is not nourishment but offering. It embodies the tension of the kitchen as origin, labor, and ritual: a gesture of domestic service reframed as spectacle.
This performance marks the origin point in a seven-part cycle. The kitchen becomes an alter, the cake a symbolic relic, and the furniture the first shrine in a cycle that will expand into reliquaries, confessions, sacrifices, and rebirth
