The use of geometric symbols to express the idea of order in the world, in connection with the earliest civilisations, is the basis of Lalalli Senna’s sculptures, immersive experiences and digital creations. The multi-platform artist engages the senses to varying degrees as a result of her background of studying diverse aesthetic practices and approaches in both the visual arts and music.
Lalalli sees geometric shapes as a bridge to the unconscious. “Anything that respects these mathematical principles ends up being harmonious. When we connect to our deepest centre and connect it to this greater Whole, we enter into harmony with the cosmos,” says Lallali, who has developed a habit of writing down dreams, the raw material of a dimension “where things are not yet words”, as she puts it. As a legitimate Digital Renaissance artist, Lalalli draws on these raw materials using a variety of languages, creating sculptures, immersive experiences that dialogue with architectural space and even orchestral works (such as the suite “The Creation of the Day”, from 2015).
“The way I see it, art is the materialisation of energies that need to manifest themselves in some way,” says Lalalli, author of “Nosso Senna”, a bust of her uncle – Formula 1 driver Ayrton Senna – presented in two versions. One was given to Pope Francis and is in the Vatican collection. The other, in monumental size sculpted from faceted mirrored aluminium, is a reminder of the three-time Formula 1 world champion at the Interlagos race track – his heroic image projecting over his fans and his nation as he receives affection.
Without a doubt, Lalalli’s work also carries the principles matured in her years leading actions with social impact – through the Ayrton Senna Institute – and mentoring groups that bring together new generations of entrepreneurial families. “Deep down, my art is a manifestation of this desire to change the world. It’s a way of generating awareness,” summarises the artist, who is also creative director at Senna Brands.
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