Nata nel 1956
data inserimento W.A.D. 10/2021
I am considered a transnational artist, whose work cannot be placed within the confines of a Eurocentric or Western gaze.
I find myself (or placed myself?) in the powerful betwixt-and-between zone of being both Australian-born and an Italian citizen , living now back in Italy after many years in Ivory Coast and Ghana in West Africa – and other locations before that. I have travelled the world most of my adult life.
I first studied Visual Communication in Australia at the National School of Art and Design under artists such as the late Mandy Martin, Barbara Campbell – from whom I was introduced to feminist art theory – and Ingo Kleinart.
After my degree, I lectured in the Photography Dept for a year before moving with my new partner to the ancient mediterranean city Alexandria in Egypt in 1981.
There, my studio was above the Italian Consulate on the Corniche.
I didn’t know it then, but the African Continent was to play a huge future role in my life and art practise.
Right now, as I write, I sense what was experienced in Africa is a continuing, recognisable aspect of both inner landscape and outward manifestations in my artworks.
It was a challenge to work in Egypt, and I’ve destroyed most of those early works, apart from those collected by others in the exhibitions I held at the renown L’Atelier in Alexandria, The Cavafy Cultural Centre and the Italian Cultural Centre in Cairo.
It was a challenge even trying to make images there, because I was still exploring and experimenting, living in a world where all was new, creating social relations and also having a semi-public role in the Italian Diplomatic service through my partner.
What was my work to be?
I had a vocational, rather that careerist attitude back then.
I was thrown between my feminist values and a highly traditional,if vastly cosmopolitan world which looked backwards to previous glory and fascinated me with tales of the past. If ‘Art is Life’, then I was living fully – the actual practise took place in my studio on the rooftop overlooking the sea on the iconic Alexandrian Corniche. It sounds romantic – it was romantic –, and I have no photo of inside that studio to help recall.
Outside, at ground level, the entire building was surveilled by young guards and whilst they were friendly, a sense of confinement had entered my bones. So I would step out whenever I could, and walk the streets looking for E.M.Forster’s lost Alexandria, or meet friends for cafe at the bar Pastroudis near the Roman amphitheatre.
Was I really an artist then? I remember I would call myself one, whatever the cost. That was the glue, that very word – saying ‘I am an Artist’ held me to an identity,a dream, a future. I did not want to be one of the statistic of women who had graduated form an Art Institution and ,after ten years, had stopped working. I remember attending the first Biennale of Mediterranean Art in Alexandria and feeling a deep desire to make more art, art that mattered.
We moved to Rome and even though I had a small child, Chiara, and had to once again find my way into the Italian world, I connected with artists who were to shape my understanding and ease entry into the artistic community. I felt that I became an Italian artist,in the sense that I grounded myself in Europe and Italy. And I started painting more.
Most work from this period,and from Egypt was later deliberately destroyed by myself. I have no regrets. Only through the destruction was I able to become myself I think – I have often burnt work,diaries, in small, sacrificial fires……
This was before internet and contacts happened mainly face-to-face; the sense of place, smells, noises are still embedded.
I began exhibiting regularly in Rome and other Italian and European centres, whilst retaining ties with Australian artists in the Southern Hemisphere; frequenting Roman galleries and artist-run initiatives like the Magazzini Generali and being welcomes by wonderful artists like Primarosa Cesarini Sforza, the late critic Barbara Tosi, Nito Contrares and Salvatore d’Addario to name a few.
In 1988 we moved to Curitiba in Brazil and perhaps it was there that my Artistic Identity was firmly cemented. It is also where my second child Julian was born. The reality of art making and motherhood has created many challenges in my life, yet I consider Chiara and Julian my closest allies in life.
I now had a c.v.,experience and had gained much knowledge of the Contemporary Art World through reading,listening and personal connections. I quickly engaged with the creative community in this Southern Brazilian city, at that time progressive and expanding and during the stay held another solo show at the Museo Arte Moderna in the city; I was to return in 2019 to exhibit in the Biennale Frontiers Abertas at the Oscar Niemeyer Museum and meet up many of the artists who had been so collaborative and inclusive during my years there (such as Geraldo Leao’, Rossana Guimaraes and the photographer Vilma Slomp) , although the atmosphere under Bolsonaro was palpably different. It felt darker, heavier. There had been fires blazing in the Amazon and I felt, on the surface, a sense of foreboding.
Back then, In the late 80s, I was friends with artists such as Raul Cruz who,like so many of his contemporaries was to die of Aids soon after: the Brazilian art world was severely altered by the passing of so many of the brightest Rising Stars.
I also had a studio Belgrade, then capital of Yugoslavia in the early nineties, exhibiting with Serbian artists until the sanctions came in; and then the war made almost all social contact traumatic on every side. I had made friends: the sense of loss during the war there has never left me.
As a result we moved to Edinburgh, where I followed post graduate studies in Art Psychotherapy and was in therapy myself with a Jungian therapist who helped unlock a rich, interior world and work through the traumatic experience of having been in a war zone, albeit in a situation where personally I did not feel in objective danger. These studies were to help me develop new aspects to art-making, including ‘relational’ approaches within diverse social realities.
This was to become a defining aspect of my practise.
In Scotland I also developed close ties with the DeMarco Foundation and the artists from all around Europe who gravitated in the orbit of Richard DeMarco. It was exciting for me to be back in an English-speaking country; a way of coming back into myself, of finding my feet again.
The war in the Balkans still felt close and through the DeMarco site in St Mary’s I was able to be part of actions of solidarity with Galerie Obala in Sarajevo and the ‘Witnesses of Existence’ project in collaboration with Kingston University, whilst also facilitating the tour of the brave women of DAH theater in Belgrade to be part of Edinburgh festival, bringing their message of peace and female resistance. I was part of the Liverpool , Manchester and Edinburgh art festivals, and much of the work held the tension of trying to make sense of a violent world.
In 1996 we came back to Italy for four years, to a sprawling old olive mill house in Umbria. I worked between central Italy and Rome. Here I developed a number of community projects and met many artists from Anne and Patrick Poirier to Sol Lewitt, Michael and Carol Venezia and Getulio Alviani.
The Flash Art Museum was active; I became aware of a vast network of artists born in Umbria who were to become lifelong friends from Perugia, Todi and Spoleto . There were major manifestations such as the Viaggiatori Sulla Flaminia ideated by Franco Troiani; in the nearby Marche art ‘happenings’ were cosmopolitan and indigenous simultaneously. It was a time of early internet and old telephone books: my life was the opposite of virtual. I travelled ‘home’ to Australia yearly with my family and was invited to exhibit in the USA and first travelled to both New York and Ankara for solo shows at this time. My work at the time was employing a variety of materials on two-dimensional supports, exploring notions of identity and geography, borders and movement. From afar, I was aware also that Australia was changing and conversations led by Indigenous Artists were finally gaining a new prominence.
When in 2000 we were given the opportunity to live in West Africa for a number of years and we arrived in Accra, Ghana , just after new year 2001. Giancarlo was Italian Ambassador so I lived a life of artist and , at times, representative of the Italian State. How to harmonise the two? One way I developed was through the photographic project ‘Exposures- A White Woman in West Africa’ wherein I documented my own life for 3 years.
These years were to have a profound impact on my view of the world, professional achievements and maturing practice.
The environment and our collective effect on it through the discarded object-trouvee’, a growing awareness of global climate changes and ‘post-colonial’ discourse and new friendships with talented, resilient African artists all came together in a period of personal growth, simultaneously with increasing communication between artists internationally through the Internet. The empowering of artists in West Africa through the net cannot be overstated. And I listened closely to what new colleagues and friends were telling me about their lives, the difficulties and joys of making art,
In 2004 with late anthropologist and art historian Prof. Joe Nkrumah I co-founded the Foundation for Contemporary Art (FCA) in Ghana, becoming the first Director from 2004 until 2007. We were part of a wonderful team and held a series of public exhibitions showcasing the growing membership, learning about who-was-who and tendencies in Ghana-based visual culture.
As part of this engagement with a new generation of creatives in Ghana I facilitated connections with practicing artists of FCA and New York University students through a seminal programme called ‘Envisaging Accra’, and developed the ‘Meet The Artist’ and the ‘Art in the Garden’ recurring events whilst establishing the Art Library at the office at the Dubois Centre in Accra. The Foundation celebrated the first decade of activity in 2014 and has recently renovated and updated its office and library; it is co-directed by Ato Annan and Adwoa Amoah.
Much of my research in the two decades since 2000 still explores identity, land and memory, resulting in large scale projects such as The Castaways Project and the aforementioned Exposures:A White Woman in West Africa with sound artist/anthropologist Steven Feld. My work often looks at displacements and migrations, loss and transformations, involving diverse engagements with artistic/community networks through vastly interconnected art worlds .The resulting imagery may incorporate ‘embodied memories’ in objects-trouvees to explore what I call the ‘Poetics of the Everyday.’
In 2008, coming back from Ghana I exhibited The Castaways Project at the Whitworth museum in Manchester and the city of Spoleto in Italy honoured me with an anthological survey at the Museum of Modern Art as an official event of the 51st International ‘Festival of Two Worlds’. In the exhibition catalogue Multiple Entries:Africa and Beyond art critic Achille Bonito Oliva observed:
”……..The strategy of Virginia Ryan who states the right to her own imagery, fleeing the logic of dual extremism: globalisation or tribalisation. She adopts the tactics of cultural nomadism to escape the perverse consequence of a tribal identity. At the same time she claims symbolic production against the commodification of a now global economy. In this way she states the right to the diaspora, to multicultural, transnational and multimedia crossing. She thus eludes any logic of belonging through a fundamental choice which tends to deny the value of space, habitat and the respective surrounding anthropology, in favour of a value of time condensed in the form of the work…..
Virginia Ryan stoically and freely chooses the diaspora, that tragic historic fate suffered by many peoples in both East and West, In this sense the work acquires a Utopian value in the true sense of the word, the preference for a non-place, for a ‘dematerialized elsewhere’ that does not require permanence or definitive occupation. Painting, sculpture, photography, design and architecture interweave in the production of installations that can stand in any space, but without the risk of being totally integrated. The nomadism and eclecticism of style that supports the form helps the establishment of a gradual decomposition with respect to the spatial unity of the productive moment and the temporal unity of the moment of contemplation. Virginia Ryan’s work acts like a blender that creates interaction between the various forms of language and dematerializes every traditional aesthetic category……”
Even though the words were written over ten years ago now, I still believe they reflect what is behind my art-making. With Achille Bonito Oliva, the incredible professional Giusy Caroppo de Monterisi and Intramoenia Extra Art, the critic Lia Del Venere and director Rosalba Brana’ from the Fondazione Pino Pascali, I was also to travel and work in the Southern Italian region of Puglia on numerous occasions in that period.
From 2009 we then transferred to Abidjan in Ivory Coast, a francophone country which borders Ghana, and once more found ourselves in a conflict zone with the civil unrest which was to break out a year later. I worked incessantly in my studio as much of the time we were under a semi-curfew with the help of assistance from Yubah Sanogho and Cynthia Lade’ and began an association with the Galerie Cecile Fakhoury, with whom I held the exhibition ‘Espace a Louer’ in 2014.
In December 2013, leaving Abidjan, I was not ready to return to Europe, so I opened a studio to the historic coastal city of Grand Bassam, a Unesco World Heritage Site in the Ivory Coast, where I sourced local material such as analogue photographs, dress fabrics and abandoned film posters for new projects. In collaboration with young artists/ studio assistants, we established the N.G.O. Make Art Not War (active for two years) whose mission was to use creative means in peace-building and reconciliation after the years of civil conflict. During this time I was to suffer a number of malaria attacks so in late 2015 I closed the studio in Bassam and returned to Umbria, some months before the massacre on the local beach in Bassam (March 2016) where many people, including members of the art community, were to be wounded or lose their lives. This event profoundly affected my work at the time and I remember it every year on the 13th of March.
In October 2016, I founded an open art workshop with asylum seekers from West Africa in Trevi where we live, called ‘ MakeArtNotWalls/italia ‘ which created a place for creative exploration intersecting art and art therapy. I co-curated exhibitions of the group’s work in Italy and Edinburgh, Los Angeles and Paris,with help from such amazing people as Federica De Marco, Julia Perry and Sofia Verna. Support has been strong for the project, crossing invisible boundaries to instill cultural and interpersonal awareness : www.makeartnotwallsitalia.org.
In November 2018 I was nominated ‘Accademica di Merito’ at the the Accademia Pietro Vannucci in Perugia (established 1573) which caused me to reflect on the importance of a deepening sense of belonging established here in Italy.
In late 2018 on returning for two months to Victoria, my birth-place in Australia, I further continued the ‘I Will Shield You’ project developed in West Africa and Italy -and first shown with Montoro12 Gallery in Rome), thus intimately linking three continents; working intensely in the Southern Grampians in the Balmoral Post Office Studio (and Off The Rails Dunkeld Artist residency ) and returning again in early 2020 during the Australian bushfires : an exploration of my birth country and my complex relationship to it.
Then in 2019 I was on site in the Museum of Contemporary Art in Rome for the ‘Atelier’ artist-residence project and was invited to exhibit in the Oscar Niemeyer Museum in Brazil in the 14th Bienal of Curitiba, entitled Fronteiras Abertas. (Since 2008, I’ve also shown in the Biennales of Malindi, Dakar, Venice and in the first and second ‘Biennale Alto’ in the Dolomite region of Italy and both the Ist and 2nd Fibre Art Biennals in Spoleto Italy)
Returning to Brazil, as I wrote before, was a chance to reconnect with an important part of my art-life and family history.
This was just before Covid, and the artwork is still in deposit there as I write, as further travelling exhibitions in Brazil and Argentina have been put on hold due to the Pandemic.
During Lockdown back in Italy due to Covid19, I engaged in the production of intricate, time-based collage and mixed media works on handmade Italian rag papers and a large scale ‘action’ with one hundred portraits of women in collaboration with JR_Inside Out Global Art Project. It was my way of giving voice to the important work ‘behind the scenes’ done by local women all over Italy during Covid.
I continue working on my archive with the art-critic, archivist and curator Davide Silvioli – a slow but important process began in 2017. Women artists are more likely to be ‘disappeared’ historically than our male counterparts’ I try to be aware of that. I have come to know a vast network of artists and art associations in Central Italy and am active with a number: FreeMocco, Trebisonda,Palazzo Lucarini Contemporary…..
In 2021 I was part of a select group of invited artists at the 3rd International Women’s Art Biennale in the city of Trieste, Italy, curated by the Princess Gabriela Von Habsburg, invited by Luisa De Marinis.
This was significant for me on many levels, not least because of an increasing appreciation of the great work being done globally by Women in these last decades.
That appreciation has also grown through projects such as ‘Il Sangue Delle Donne’ curated by my respected friend Manuela De Leonardis. I’m honoured to be part of that story.
”The entanglement of the life of an artist and the history of the object itself remains one of the great fetishes of modernism. As much as we may know of the peril of yoking the imagination and reality, constructing history has always been an act of provisional fiction. This artist, much as any “other”, is simply unknowable or rather something in excess of what might ever be understood.Try as we might, personal biographies contain slippages, blank spaces, historical trapdoors and, of course, counter narratives with their impervious layers of ambiguity.But what is at stake when the artist is aware of this construct, and sets about creating fictions as a means of writing a history of their own experience ; each object indexing the story of a life laden with memories?
Virginia Ryan has cultivated a practice of irreducible complexity, where her lived experience is deliberately, and often literally, entangled with a world of matter; pictures, stories, books, fabrics and personal possessions. Her objects often bloom where she is planted, taking form as often on the shores of the former French colonial city of Grand Bassam, east of Abidjan, as in the central Italian town of Trevi, near Perugia where she now has her main studio.”
1977-1980 Graduate Visual Communications, Australian National University Art and Design.
1994-1995 Graduate School of Art Therapy, St Margaret’s University, Edinburgh Scotland.
2021 Graduate Gestalt Triennial Masters, A.S.P.I.C. Perugia Italy
Teaching and Collaborative Experience
1978-79 Co-developed the first ‘Women in Art’ radio program on community radio 2xx in Canberra, Australia.
1980 Australian National University School of Art and Design, lecturer, Photography dept.
2004 Co-founder with the late professor J.Nkrumah of FCAFoundation for Contemporary Art Ghana
2004-2007 Director, Foundation for Contemporary Art, Ghana
2005-2006 New York University in Ghana, Adjunct professor, lecturer in Art practise and course developer.
1982-2013 Diverse and extensive public speaking experience in Europe, West Africa and USA , as artist, therapist; also in the role of partner to Italian Diplomat Giancarlo Izzo from 1982 until 2013, representing the Italian State in Egypt, Brazil, Serbia, Scotland and Northern Ireland, Ghana and Ivory Coast.
2016 Founder ‘Make Art Not Walls’ association with asylum seekers from West Africa in Umbria.
International Press coverage (NPR, Agence France Press, Rai Italia etc) and nominated ‘Voluntario dell’Anno’ Umbria 2017 in recognition.
1995-ongoing Extensive work in local communities as Artist/Art Therapist since 1995 in Europe, Australia and West Africa in ‘relational’ art projects and building organisations such as the FCA Ghana, the Junior Art Club Ghana,the ‘Art in the Gardens’ exhibitions with Embassies and ‘Meet the Artist’ series in Accra; and online therapeutic encounters during Covid19.
2019-2020 Art Residencies in Victoria, Australia.
2018 Nominated as a perpetual ‘Accademico di Merito’ at the Accademia Piero Vannucci , Perugia.
Ongoing: Professional Member of the European Federation of Art Therapists. (EFAT)
‘Personal Diffractions #2, text by Davide Silvioli, M.A.D. Museum (Museo del Arte e Design) Campello Sul Clitunno, Italy
Praesentia , Melbourne, Australia
Selling Dreams ACTA International curated by Manuela De Leonardis, Rome Italy
Personal Diffractions, curated by Manuela De Leonardis for TODI OPEN DOORS, Palazzo Morghetti, Todi Italy
‘Biografia Plurale di Una Comunita’ curated by Maurizio Coccia and Mara Predicatori, Palazzo Lucarini Contemporary, Trevi, Italy
Virginia Ryan-IN_SITU Balmoral Post Office Studio, Australia , February, on completion of #phase1 residency with the support of Regional Arts Victoria and Southern Grampians Shire.
‘Atelier #4’ One week Open Studio/presentation Museum of Contemporary Art, Macro Rome.
‘Shift’ Alchimie Sonori Festival , Davoli Calabria, Italy curated by Lara Caccia
‘VOLTAR‘ curated by Anna Cochetti , ‘Storie Contemporanee’, Studio Poerio, 16/b, Rome Italy
‘I Will Shield You’ – Castello di Postignano, Umbria with sound installation by Carole Mangini produced by Tim Ryan (Trackdown Studios,Sydney)
Com-Plicit Museo della Canapa, Sant’Anatolia di Narco, Italy with Hamraz Darugar
Biografia Plurale, Palazzo Lucarini Contemporary, Italy curated by Ivan Bargna and Maurizio Coccia.
Selling Dreams ‘Head On’ International Photo Festival, Janet Clayton Gallery, Sydney Australia
Selected works from ‘I Will Shield You’ at the Temple of Hadrian, Rome , October in collaboration with designer Monica Bi.
I Will Shield You Gallery Montoro12, Rome, curated by Ursula Hawlitschka (catalogue texts Ursula Hawlitschka, Achille Bonito Oliva, Osei Bonsu)
I Will Shield You Pinacoteca di Trevi, Umbria, August.
Vous Etes Ici Musee de La Patrimoine Culturel , Grand Bassam, Ivory Coast February/March
Fluid Tales Museo Pino Pascali, Italy, curated by Lia Del Venere, April-May.
Espace A’ Louer Galerie Cecile Fakhoury, Ivory Coast May-June.
Bassam Jam Mondo Musique, Foligno (AMACI Giornata del Contemporaneo) October.
Shift/Rue Du Commerce ARTEDECO and Palazzo Eustachi,Terni, curated by Franco Profili
Emersioni’ Trebisonda Centro Per L’Arte Contemporanea, curated by Alessandra Migliorati
Shift/Rue Du Commerce, Cantiere Oberdan for LaMama Spoleto Open, Festival of Spoleto, Italy. June – St Stephens Cultural Centre Rome September- October / with text by Manuela De Leonardis.
I Love You 1OPERA Gallery Naples, curated by Tatafiore,Irpi and Ruffo.
Surfacing, Freemocco House, Deruta, curated by Attilio Quintili with text by Antonella Pesola and Virginia Bruzzone.
Castaways Project Museo Archeologico, Arezzo, Italy as part of ICASTICA.
8 Peace Diamonds Showroom exhibit, Galerie Cecile Fakhoury, Abidjan.
‘Intransitu’ Dovecot Studios curated by G.Caroppo di Monterisi, Edinburgh,Scotland, March – in association with the Italian Cultural Institute.
Waiting for Something to Happen‘ Palazzo Lucarini Contemporary Art, Trevi Umbria, curated by Mathilde Martinetti,
Layered/Lands Villa Montani Della Fargna,Umbria.
Transitions Castello di Poreta,Umbria,curated by Anne Wood-Metelli.
InTransitu Installation in ‘Pino Pascali-Ritorno a Venezia’. Palazzo Michael Brusa’ – 54th International Biennale of Venice, curated By Giusy Caroppo di Monterisi and Achille Bonito Oliva.
‘WaterSpirit’ Galerie Amani de Leon N’Guetta, Abidjan, Ivory Coast.
Surfacing’ Institut Léopold Sédar Senghor, Dak’art Senegal, invited by Yacouba Konaté on occasion of Dakar Biennal,
‘Exposures-A White Woman in Africa‘ Biennale of Malindi,Kenya, curated by Sarenco and Achille Bonito Oliva.
Floating Wastelands‘ Installation Hotel Cerretani, Florence, Italy curated by Chiara Izzo.
Castaways Project and Topographies of The Dark Spazio Ottagoni, Rome, curated by Giuseppe Salerno.
Aerial’ Kyo Art Gallery, Viterbo, Italy, curated by Antonella Pissilli.
Open Studio Hill Crescent Nima Accra ,Ghana in collaboration wirh FCA Ghana.
Still/Moving Sofitel, Bologna,Italy curated by Chiara Izzo.
Multiple Entries-Africa and Beyond City Gallery of Modern Art ,Spoleto, Italy, in the 51° International Festival of Two Worlds curated by Cecilia Metelli with text by Achille Bonito Oliva. 2007
Topographies of the Dark Alliance Francaise , Accra, Ghana.
The Castaways Project Whitworth Art Gallery, Manchester , U.K.
Exposures – A White Woman in West Africa (travelling) St Stephens Cultural Centre, Rome curated by Agnes Martin / School of Advanced Research (SAR) Santa Fe,New Mexico – Peck School of Art, Wisconsin, USA curated by Dick Blau.
Blues For Charlie Goethe Institute, Accra, Ghana.
Landing in Accra Palazzo Cassotto, Modena, Italy, curated by Oltrelab.
Awanwandain-Postcolonial Wunderkammerrn, Spello, Italy, curated by Franco Ottavianelli. 2005
The Loom Gallery, Accra, Ghana, June curated by Francis Ademola.
Shorelines Palazzo Trinci, Foligno, Italy, curated by Italo Tomassoni. 2004
Seven Steps from Anomabo Dubois Centre for Pan African Culture, Accra curated by Prof, Joe Nkrumah.
Goldfield Alliance Francaise , Kumasi
Living Go(l)d Alliance Francaise, Enugu Nigeria, curated by PACA. (in The Nude Never Sleeps, Afrika Heritage). 2003
Europe paints Ghana National Theatre Exhibition Hall ,Accra, Ghana.
The Memory Room Shopafrik, Accra Ghana.
Landing in Accra National Museum of Accra, Ghana – Alliance Francaise Gallery Kumasi, Ghana – Sala Uno, Rome, Italy – Palazzo Calabrese, Viterbo, Italy.
‘Cento Passi’, ass. Culturale Futuro, Rome.
‘Potrait of the Artist as an Atopian‘ Atelierart International, New York.
Woman Looking at Woman Miralli Gallery, Viterbo, Italy curated by Alberto Miralli.
‘Atopia’, House of Art, University of Ankara, Turkey – Italian Cultural Institute, Istanbul and Italian Consulate, Izmir .
Atopia Il Politecnico Gallery,Rome curated by Massimo Scaringella.
Open Books Geografica Studio, Augsburg, curated by arch.Ken Sowerby.
Sosta Sale Clitunno, August , Trevi, Italy.
Before/Departure Italian Cultural Institute, Edinburgh.
Four Banners For Four Poems in collaboration with Adrian Henri , Tron Kirk, Festival of Edinburgh.
Visionfest Picton Library,Central Library, Liverpool, England.
Floresta The View Gallery,Liverpool.
Recent Works Norrie-Toch Studios, Gullane, Scotland.
Artist For a Week The Collective Gallery, Edinburgh.
Home,Europe Demarco Art Foundation, Edinburgh, Scotland curated by Richard de Marco.
Stealing Fire Tabula Rasa Cultural Association, Rome.
Museum of Art of Joinville, Santa Caterina, Brazil.
Anita Malfatti Cultural Space, Curitiba, Brazil curated by Joao-Henrique Amaral.
Chasing shadows, Museum of Contemporary Art, Curitiba, Brazil.
Graffiti-Now Atelier, Verona, Italy.
‘Fantasia’ Istituto Italiano di Cultura Cairo, Egypt.
Costantine Cavafy Κωνσταντ?νοςΠ.Καβ?φης Cultural Space, Greek Consulate, Alexandria, Egypt. 1983
Virginia Ryan Recent Works L’Atelier, Alexandria,Egypt.
Montmatre Gallery, Canberra, Australia.
Solander Gallery, Canberra, Australia.
Point 4, curated by EAN Group, Alexandria,Egypt,invited/curated by Moataz el Shafty.
WOMAHR : Women_ Art_ Human Rights curated by Lorenzo Canova, Museum Venanzo Crocetti, Rome.
Le Tendenze Attualizzanti (Raggi D’Ulivo #2)artist-run initiative in collaboration with FreeMocco Cultural Association and Trebisonda Centre for Contemporary Art Italy Trevi,Italy.
B.I.D (BIENNALE ARTE DONNA) 3rd Internation Biennale of Women Artists, ‘le Trasformazioni Silenziosi’ Trieste, Italy invited by Luisa De Marinis curated by Gabriela Von Hapsburg.
Hide ‘n Seek: la Cultura della Maschera e la Maschera nella Cultura. curated By Veronica Montanino and Shara Wasserman, Temple University Gallery ,Rome.
KAPKAP‘ National Archeological Museum of Umbria, organised by ‘Associazione Culturale Tangram’ curated by Director Maria Angela Turchetti .
Stitching Changei nvited by Naarm Textile Collective, Gallery FortyFiveDownstairs, Melbourne Australia.
Il Sangue Delle Donne’curated by Manuela De Leonardis, Palazzo Fruscione Salerno Italy
E quindi uscimmo a riveder le stelle…’ 34 Artists for 34 Canti of Dante’s Inferno, Piazza Dante Rome,invited by ass.Arco di Gallieno cultural association.
Embedded Revisited ,Tacit Galleries, Melbourne, Australia
Open Doors , Todi Festival , Umbria curated by Manuela de Leonardis and Andrea Baffoni.
WOMAHR : Women_ Art_ Human Rights curated by Lorenzo Canova, Campobasso,Fondazione Molise Cultura , Italy
Contaminazioni Aliene curated by Matteo Pacini, Palazzo della Penna , Perugia Italyne/Rizzo/R 2019
Capetown Art Fair, Galleria Montoro12 Booth, South Africa.
CIAC: Collezione Permanente -presentation of works in the permanent collection of the Centre for Contemporary Italian Art in Foligno, Italy.
MUDITAC, Un Museo d’Arte Contemporanea, ‘Un Segno D’Artista’ curated by Daniela D’Alia e Anna Cochetti,
Rigorosamente Libri Fondazione di Monti Uniti,Foggia curated by Vito Capone and GaetAno Cristino, Artist Book Biennale.
MubaQ ‘Angolo della Memoria’ on occasion of the ten year commemoration of the Aquila Earthquake,Fossa,Italy : placement of sculpture to honour the memory of the child victims.
Child Marriage-Nel Ombra di BarbaBlu con il patrocinio del Municipio Roma curated by Antonio E.M. Giordano (Binga/ Catania/Celani/Cesarini Sforza/Contestabile/Fabrizi/Frare/Molinari/Napoleone/Rizzo/Ryan/Schaefer/Stucky/Trevisi) Rome.
Fronteiras Abertas, 14th Bienal de Curitiba Brazil, Sala 11 al Museu Oscar Niemeyer invited by Italian Curator Massimo Scaringella.
All Year Round curated by Davide Sarchioni, Palazzo Collachioni, Capalbio, Italy with installation ‘Surfacing’
24 Hours Creating a New Day – Choral Art Action curated by Gianfranco Valleriani, Le Dame Art Gallery,London during Frieze.
Giornata AMACI , Works from the TREBISONDA collection (Judge/Ryan/Bacca/Baldassini/Bourgocq/Grazzi/Lang ), Perugia Italy.
Il Sangue delle Donne a cura di Manuela de Leonardis – Palazzo Fibbioli, L’Aquila, Italy (9th March)
Con-texto curated by Lidia Predominato and Stefania Severi,Gallery Sinopia Rome (May) and Fondazione Claudi di Serrapetrona ,Le Marche (June)
Identity and Vitality in Art from Ivory Coast, MACRO (Museum of Contemporary Art) Mattatoio, Rome curated by Massimo Scaringella with the Embassy of the Ivory Coast.
Biennale Alto 2 , Cibiana di Cadore, Dolomites, Italy
Fibre Arte Biennale , Palazzo Collicola Art Museum, Spoleto curated by Giuseppina Caladarola. 2017
CromoNero curated by Graziano Marini and Pino Bonanno May (Umbria,Pesaro)
Intreccio curated by Rovereto/Candeloro, Rocca di Umbertide , February
FibreArt 1 , curated by Giuseppina Calderola, Museo del’Tessuto ,Spoleto Festival
Donne Di Colore curarted by Giorgio De Finis, Torre dei Lambardi, Magione, Umbria July-August
Il Sangue Delle Donne, curated by Manuela de Leonardis ,Conversano,Puglia Italy
‘Surfacing‘ Installation curated by Giorgio Flamini,Casa Di Reclusione (maxi-prison) Maiano, Spoleto during Spoleto Festival 2017
AKKA Art Fair, Le Carreau du Temps,(curator Mariateresa Setaro, TRIAD Foundation) Paris.
Virginia Ryan and Rene Pena’ presentation curated by Laurence Choko,Galerie Intemporel,Paris, on the occasion of AKKA.
The Investigation by Peter Weiss: Artists in Dialogue curated by Francesca Duranti and Andrea Baffoni, Ex- Lanificio, Ponte Felcino, Italy.
‘Migrazioni‘ Officina Arte e Tessuti, Spoleto , curated by Giuseppina Calderola.
‘Tower of Babel’ Schema Projects New York, Tel Aviv and Trebisonda Contemporary Art Space, Perugia,Italy curated by Mary Judge and Doron Polok.
‘Il Sangue Delle Donne’ curated by Manuela De Leonardis and Rossella Alessandrucci , Casa Delle Donne, Rome and Teatro Stabile Comunale di Isola del Liri, Frosinone.
‘Head On Photo Festival’, Sydney Australia (semi-finalist projection at Sydney Museum)
‘Biennale Alto’ 1st edition, invited artist in Australian selection , Cibiane Di Cardore, .Italy
‘Fluid Tales’ in occasion of Africa Week, Rome,invited by the Embassy of Ivory Coast.
‘Breakfast in Beirut’ curated by Daniel Buso and Enas Elkorashy, Barchessa di Villa Giovannina, Villorba, Treviso, Italy
Curb Your Sensations Primavera Mediterranea – Architettura, Verde, Città – 5th Edition, curated by Manuela De Leonardis and Marialuisa Loconte , Bari,Italy
Musica per Uomini e Bestie in occasione di ‘Assisi Suona Sacro’,Sacred Forest of Saint Francis at the site of Pistoletto’s Third Paradise.
Mindscape-Scatti e Memoria: Castelnuovo Fotografia edizione 1V, Rome.Passaggi di Memoria-Steps of Memory curated by Elisabetta Portoghese and Manuela de Leonardis. October.
Africa E La Sua Ombra Marta Massaioli Contemporanea, March, Fabriano,Italy.
Bologna Art Fair ,Galleria Montoro 12 ,January,Italy
Kahsruhe Art Fair, Galleria Montoro 12, Germany,’
Traccie per Un Autorappresentazione’curated by Simona Caramia and Lorenzo Madaro, Centro per l’Arte Contemporanea Open Space, Catanzaro ,Italy
Pascali L’Africano e Sirens di Virginia Ryan e Frederic Bruly Bouabre curated by Laura Barreca and Santa Nastro, Museum Of Castelbuono in collaboration with the Fondazione Pino Pascali.March~June
Water Art Women Life curated by Fancesca Petracci and Jonathan Turner ;A&M University,College Station,Texas USA /Malmo Feminist Festival Sweden
Wasser Kunst Frauen Leben, Interkulturelles Frauenzentrum S.U.S.I., Berlin
Fibre Art Festival Art event,curated by Giuseppina Calderola, Museum of Costume, Spoleto.
Raggi D’Ulivo #1, private event in Ryan-Izzy Art garden , Trevi June in association with FreeMocco Cultural Association.
Spoleto Contemporanea , Palazzo Collicola, Spoleto curated by Gianluca Marziani
Artists of Galerie Cecile Fakhoury,Dakar Biennale OFF @ Espace Totale, Senegal.
La Grande Illusione curated by Manuela de Leonardis,Temple University,Rome.
DonnexDonne curated by Manuela de Leonardis,Galleria Il Cembalo, Rome
Ricognizione: Centro Italiano Arte Contemporanea C.I.A.C. Foligno
Gallery Artists’ Alliance, Accra,Ghana
Agua,Arte Mujeres,Vida: University of Los Lagos,Santiago,Chile/ Sindacato ATE,Posadas Argentina curated by Francesca Petrucci .
#ChiaveUmbra curated by Mara Predicatori
‘ DivinaCommedia’ Museo Arcos di Benevento, curated by Pietro Tatafiore,Achille Bonito Oliva e Giuseppe Ruffo.
“ICASTICA’ 1st Biennale of Arezzo, Italy,
IL Guardo Zero Dello Sguardo, Citta’ Sant’Angelo,August, curated by Maurizio Coccia and Enzo de Leonibus
Pavilion for Tibet, invited artist, Biennale of Venice 2013,curated by Ruggero Maggi
Open 16, Isola di San Servolo,Venice,curated by Paolo de Grandis
Contemporary African Art Fair, Galerie Cecile Fakhoury,Somerset House London.
Limen International Art Prize, Vibo Vallentina,Calabria, Italy ,selected by Lara Caccia . and curated by Giorgio di Genova. (first prize)
`Ella Fu’ City of Assisi Palazzo Comunale.Italy,curated by Luisi Benevieri.
Un Museo Per Un Museo Museo del Mare e delle Migrazione ,Genova
Un Museo Per Un Museo Museum of Civilisations,Abidjan ,Ivory Coast.
Il Parco dell’Arte ,Permanent Sculpture Park, installation . Castelbuono, by the Lunelli Winery. Italy
Caravanserraglio , Palazzo del Vignola ,Todi curated by Graziano Marini, August.
Autori/Tratti , curated by Giorgio Flamini,Istituto Leoncilli,for the International Festival of Spoleto,July
Open 15 curated by Paolo De Grandis,Venice Lido,Venice,Italy
Acque/Les Eaux Italian Embassy, Ivory Coast~Palazzo della Penna Perugia, Italy,co-curated with Italian Embassy and Trebisonda
3rd Biennale of Malindi, Kenya,curated by Sarenco and Achille Bonito Oliva,
‘Arkady’ Centre Culturel Francaise, Abidjan, curated by Prof.Marie-Jose Hourantier.
-‘All’Altezza Dell”Uomo’ WAITING FOR SOMETHING TO HAPPEN video in 6 parts Palazzo Lucarini Contemporary, curated by Matilde Martinetti .
– La Casa Sensoriale’ 1st Biennale di Sostenibilita’,La Spezia, Italy
‘Pino Pascali-Ritorno a Venezia’.Palazzo Michael Brusa’ – 54th International Biennale of Venice,curated by G.Caroppo di Monterisi.
Studio Watts, San Gemini Italy
Le Stanze dell’Arte,curated by Rita Rocconi, Museum of Montefalco, Italy.
‘Dak’art Off, Biennale of Dakar, curated by Yacouba Konate’, Senegal.
‘Invito all’Opera‘ curated by Achille Bonito Oliva, Il Ponte Contemporanea,Rome,
‘De L’Eau e De L’Esprit’ Fondation Charles Donwahi, Abidjan.
‘Chiamata all’Arte ‘ Sala Vincenzo Gremito,Galleria Principe Di Napoli, Naples,
curated by the SABU Cultural Association.
If Filo D’Arianna’ Torre Prendiparte,Bologna, curated by Marco Testa ,ArteFiera and Rocca Albornoziana, Narni,
“Rifiuti in cerca d’Autore “, Palazzo Vanvitelliano , San Severino ,Salerno Italy.
Presentazione Collezione ASPS Varalli-Cortesi, Pantalla di Todi Italy
‘Officine dellUmbria’ and ‘Premiata officinia Trevana‘ Palazzo Lucarini Contemporary, Trevi.
Libero Libro d’Artista Libero 4‘ – Art Library Luigi Poletti, Modena, Italy
‘ARTERIE:Spazi espositivi non convenzionali nel centro storico di Magione,‘ curated by Fabrizio Segaricci and ‘Zone Cultural Crossing’ , Umbria, Italy.
AR[t]CEVIA’ International Art Festival, Le Marche, Italy.
‘In Ordine Sparso # 2 ‘ curated by Marco Testa,San Gemini,Italy .
‘OroBlu’ curated by Francesco Santaniello and Graziano Marini, Assisi,Italy.
‘Nsoroma: The Legacy of Joe Nkrumah’. Dei Centre for Contemporary Art, Ghana, curated by Lyle Ashton Harris and Nancy Barton with NewYork University,
‘Around The Sacred Tree‘ Outdoor installation in the city square curated by E.Gubbini and A.Belli, Spello,Italy,
‘Artisti Per Epicentro’ , Epicentro Museum,Barcelona, Sicily, curated by Italo Tomassoni e Ninno Abbate
‘ORO GIALLO ORO VERDE’ Palazzo Casagrande ,Campello sul Clitunno Museum of Bevagna, Italy, curated by Loredana Bucchi
Recent World Bank Aquisitions ,World Bank European Office, Paris, France,curated by Marina Galvani.
‘LIBEROLIBROdARTISTALIBERO 4′ Biennale of Artists’s Books Spoleto, Museo Archeologico,Spoleto curated by Giorgio Maffei / Emanuele De Donno.
‘La Magia di Un’arte ‘ Museo della Ceramica di Deruta,Italy.
1st Biennale of Contemporary Ceramic Sculpture, Deruta,Italy, curated by Pino Bonanno.
The Treasures of La Spina‘ Campello, Italy, August 2008,curated by Loredana Bucchi –
CavourArt curated by Franco Profili,Palazzo Mazzancolli Terni
Prima e Dopo Festival, Todi festival,September.
‘Ventidue-20-2′ Communal Hall of Bastia Umbra,Italy,curated by Enrico Sciamanna-
–Artegaya 2008 at the Sound and Relation Festival of Sofia,Bulgaria – October.
ECOMONDO curated by BlueLine Ass.Culturale, Rimini, October .
Roma Arte Weekend ,L’Hofficina Galleria d’Arte, Rome
Verona and Padova International Art Fairs , Oct-Nov, represented by L’Hofficina Gallery.
14 Banners for 14 Trees- A Collective Art Action’ Foundation of Contemporary Art off-site at Cantonments Roundabout, Accra, Ghana.
Equal Exchange’New York University , Dubois Centre for Pan African Culture , Accra Ghana.
Sconfinamenti –Homage to Piero Dorazio- Palazzo della Vignola, Todi, curated by G.Marini .
Terra Dei Maestri Villa Fidelia, Spello, invited by Giorio Bonomi.
In Cartis Mevanie 1997-2007′ Bevagna, Italy,curated by Antonio Carlo Ponti .
‘ADUSUMETCOMODUM PEREGRINORUM ‘ Ex Voto curated by Franco Troiani, Complesso Monumentale San Carlo di Spoleto.
Intramoenia’Extra Arte Castle of Acaya, Puglia, curated by A. Bonito Oliva and Giusy Caloppo
Mater DulcissimaMuseum of Modern Art, Spoleto,curated by Anna Leonardi.
Art In The Garden 9‘ – French Embassy, Accra, Ghana.
A Tale of Two Cities’ Goethe Institute, Accra – Alliance Francaise, Kumasi.
Artisti Stranieri in Umbria-Festival of Corciano’ curated by M.Duranti and C.A. Ponti, Italy
‘Sankofa’ University of New York NYU In Ghana.
Art in the Garden 10 Canadian High Commission, Accra.
Geo-Graphic’( Ryan,Decarvahlo, Marini), La Casa Verde, Foligno, Italy.
Artists for the Rita Levi-Montalcini Foundation, Palazzo dei Sette, Orvieto,curated by G.Marini. 2005
‘Art in the Garden Six’ with Foundation for Contemporary Art Ghana,French Embassy, Accra
‘Notte Al Castello’, Campello Alto, August, curated by Rita Rocconi, Umbria, Italy
‘Viaggio in Italia’, Palazzo Orsini, Bomarzo, November, curated by Antonella Pisilli
‘Viaggio in italia 2’, Sala Uno Gallery, Rome , December
‘Artisti in Soccorso’ Ambra Jovanelli Theatre , Rome, December.
‘Vanitas’, Certosa di Padula, curated by Achille Bonito Oliva,
‘Artists for Peace’, Assisi, Italy
‘Artiade’ Tavros, on occasion of Athens Olympics
Crudelia’s project, Riparte, Genoa –
‘Openasia’, Lido of Venice on ocasion of Venice Film Festival
Stanze Crudelia’s Project, Villa Massaioli,Le Marche Italy.
‘LIBEROLIBROd’ARTISTALIBERO’, Spoleto, Chiesa di S.Carlo, curated by G.Bonomi, A.Cochetti, C.Metelli, V.Tessitore.
Europe Paints Ghana -National Theatre Gallery, Accra, Ghana.
‘Rose’s Choice’ (2nd edition) International Museum of Womens Art, Scontrone, Italy.
‘Ahead’, BahdeeBahdu Gallery, Philadelphia.
’20 x 30′ and ‘Ass.Culturale Dedalo, Trevi,Italy
‘Matriacato’ Ass.Culturale Dedalo, Trevi, Italy.
Hermann’s Art Award: Mornington Peninsula Regional Gallery, Victoria – Lake Macquarie City Art Gallery NSW – Wollongong City Gallery and Hazelhurst Regional Gallery, Victoria, Australia
‘Extra Vergine’ Flash Art Museum, Trevi curated by Pio Monti
Nero E Bianco Fantauzzi,Trevi, curated by Giorgio Bonomi
Biakoye Contemporary Spirits Castel Sant’Angelo, Rome – Palazzo Calabrese Viterbo and Alliance Francaise in Accra and Kumasi, Ghana 2001
Hermanns Biennial Art Prize Sherman Galleries ,Sydney and travelling nationally in Australia : Tamworth City Gallery – Tweed River Regional Gallery — Bendigo Art Gallery.
Amici Miei Trevi Flash Art Museum
41st Premio Suzzara, Civic Gallery of Contemporary Art, Suzzara, Mantova
Guardaroba curated by Grazia De Palma, monastero di Santa Scholastica, Bari. 2000
AutoreDonna Castello di Castoglincello, Livorno curated by Luca Faccenda.
Carissime Nemiche Italian Cultural Institute Cairo, Rabat Morocco and Academy of Fine Arts, Beirut
Incontri d’arte Contemporanea alla Majorana – 6 Rome, curated by Anna Cocchetti
Seventy over Two Thousand on the road to Meikle Seggie Kingston University, England, City Art Centre, Edinburgh, curated by Richard De Marco
‘SacroSanto’ in collaboration with the Galleria Comunale di Arte Contemporanea and Sala Uno, Rome
Nella Notte,Pio Monti Gallery Rome
AnnoDivino curated by Anna Cocchetti, Palazzo Baleani Iesi – Jolly Hotel Midas Rome – Waiblingen, Germany
Carissime Nemiche Il Politecnico Gallery, Rome, Cankaia Gallery, Ankara
Dalla Terra The Brewery, Los Angeles, U.S.A., Palazzo Dei Consoli, Gubbio, Italy
Simbiosi curated by Jonathan Turner, Museum of Gallese Rome
In Chartis Mevanie Bevagna, curated by Italo Tomassoni
‘Praga Magica – Oro e Nero‘ Palazzo Dei Sette, Orvieto, curated by Enrico Mascelloni
Viaggatori Sulla Flaminia n.2: Strade primarie e Strade Secondarie Spoleto’ curated by Franco Troiani.
‘Il Sogno, il Segno, Il Colore‘ Al Assad National Library, Damascus, curated by M.Scaringella 1998
Origini e Mutazioni Palazzo Bachettoni, Spoleto – curated by Cecilia Metelli.
‘Luoghi Del Corpo e Dello Spirito’ – Viaggiatori sulla Flaminia Trevi, Campello, Spoleto
Il PuntoVerso: Percorsi della Follia Teatro Della Villa, Roma
Lady Diana Trevi Flash Art Museum of Contemporary Art curated by Pio Monti.
‘Mini-atura‘ Many H. Gallery Tel Aviv, Israel (travelling)
Artesacra SpazioImmagine, Foligno
Per un Museo della terracotta Marsciano, Italy – Guerra e rivoluzione Rocca Di Umbertide, centre for Contemporary Art, Italy ,curat by Enrico Mascelloni
I ritmi dell’Arte La Corte di Boboli, Rome,curated by Massimo Scaringella
Ombroso Chiesa di San Carlo, Spoleto.Italy.
Anon Sherman galleries, Sydney Australia
Una Pietra Per S. Claudio Spello, Umbria curated by Emidio de Albentiis
Presenze: Foreign Artists In Italy curated by Gorgio Bonomi,Padiglione Neri, Perugia –
Parallel Time: Five Australian Artists in Umbria Pinacoteca di Trevi, Perugia, Italy
‘Progettolego’ Palazzo Comunale, Spoleto and Galleria Larga, Firenze
Festival Exhibition Scottish Arts Club, Edinburgh
‘Spolia’ Studio 87, in occasion of the Festival di Spoleto
‘Laboratorio per il Fine Secolo’ Per Mare e Monti Association, Macerata
Demarco Art Foundation, Festival of Edinburgh
Artenatura: Una Rivoluzione Naturale Cancelli di Foligno, Umbria
Mayfest Royal Society of Artists, Glasgow –
Art 95 Contemporary Arts Fair, London –
‘College Collection- Small Works-Wide Vision‘ Toowoomba Art Gallery Australia
‘Heart to Art’ Lochgelly Art Centre, Fife, Scotland
‘Edinburgh Festival Exhibition’ Scottish Arts Club, Glasgow’
‘SAAC Exhibition‘ Royal Scottish Academy, Edinburgh
‘Symbols of Communication’ Scotland Street Museum, Glasgow
‘The British Affirmation’ European Youth Parliament, Reichstag, Berlin
‘An east-west Dialogue’ Demarco Art Foundation, Edinburgh
Women light up the night Kunsthaus Tacheles, Berlin Mitte
369 Gallery, Edinburgh –
A celebration of Art in Music, University of Edinburgh with composer Nigel Osborne.
Witnesses of Existence University of Kingston, England and Obala Gallery, Sarajevo
Royal Scottish Academy Summer Exhibition, Edinburgh Scotland
In Bloom’ Kirkaldy Art Centre, Fife, Scotland
Small Works, Wide Visions Downlands College, Queensland, Australia –
C.D. Show Collective Gallery, Edinburgh, Scotland
‘Parabens Curitiba Galleria Bico Da Pena, Curitiba, Brazil
‘Plamena Zavesa’ Galleria Duka Dinic, Belgrade, Yugoslavia –
‘Prosveta’ Galleria Kavkaz, Belgrade, Yugoslavia
‘Horizont ‘Knnjiizara Prosveta, Belgrade, Yugoslavia
‘Acervo’, Galleria Documenta, San Paolo, Brazil –
‘8th survey of Drawing in Brazil’, Museum of Contemporary Art, Parana, Brazil 1988
‘Supra Roma’ M.I.T. Cambridge, Massachussets, U.S.A.
‘Festival Internazionale del Cinema per l’Ambiente’, Viterbo, Italy
‘Harambee’ Istituto Italiano di Cultura, Hamburg, Germania –
‘Five Artists From Italy Bank of Ireland Exhibition hall, Dublin, Ireland
‘Supra Roma’ Contemporary Art Gallery of Anchorage, U.S.A.
Seminare l’Imprevisto L’Ariete Gallery, Rome
Dieci e Lode Valentini Palace, Roma –
‘La Forma Nell’Immagine’ Arezzo, Italy
‘Genazzano 86, Castello di Genazzano, Rome
‘Harambee’ Der groote Meer, Amsterdam /Palazzo degli Antichi Chiostri, Turin /Tromso Kunstforening, Norway
‘Elittica’ L’Ariete Gallery, Rome
‘Project Against Apartheid’, L’Ariete gallery, Rome
‘Expoconfusione’ Galleria Interprize, Salerno, Italy
‘Jubilee D’Or’ L’Atelier, Alexandria, Egypt 1982
Musee Des Beaux Arts Alexandria, Egypt 1981
‘National Women’s Art Festival’ Sydney, Australia 1980
‘Alice Prize’, Alice Springs Northern Territory, Australia
‘Photographic Works’ Arts Council of Australia, Canberra, Australia
REVIEWS AND CRITIQUES by
Australia: Sasha Grishin, Sonia Kaleski, Garry Raffaele, Carol Twopeny, Lisa Clifford, Jonathan Turner, Rosa Falvo.
Egypt: Amal Choukri Catta.
Brazil: Adalice Araujo, Marlene De Almeida, Francisco Souto Neto, Nilza Procopiak, Joao-Enrique Amaral, Aurelio Benitez.
USA: Jan Ingram, Cynthia Elek, Karen Koblitz, Steve Feld, Marina Galvani, Erica Bornstein.
Great Britain: Clare Henry, Giles Sutherland, W. Gordon Smith, Victoria Keller, Adrien Henri, Dr David Weeks,Osei Bonsu
Italy: Mario Rotta, Carmine Siniscalco, Barbara Tosi, Franco Gentilucci, Enrico Mascelloni, Cecilia Metelli, Bruno Toscano, Emidio De Albentiis, Mario Pisani, Maria-Rosa Cutrufelli, Roberto Segatori, Martina Corgnati, Anna Cocchetti, Claudia Collesanti, Achille Bonito Oliva, Roberta Bonetti, MaryAngela Schroth, Stefania Caracci, Laura Lacan, Eugenio Viola, Marta Massaioli, Vittorio Sgarbi, Massimo Duranti, Michaela Nardi, Antonella Pisilli, Stefano Bottini, Marco Testa, Antonio Carlo Ponti,Manuela De Leonardis., Giorgio Flamini, Valeria S.Lombardi ,Manuela Gandini, Lea Del Venere, Giusy Caroppo di Monterisi, Gianluca Marziani, Stefania Petrillo, Ivan Bargna, Maurizio Coccia, Mara Predicatori, Giuseppina Calderola, Anna Somers Cocks, Davide Silvioli,
Germany: Ute Diehl.
Ghana: Gilbert Amegetchar, commissioner for Culture George Hagan, Prof.Abena P.A. Busia., John Owoo, Prof. Esi Sutherland Addy, Nat Amarteifeio.
Ivory Coast: Koffi Yao Celestine, Evelyne N’Guessen le Bussy, Yacouba Konakey.
Nigeria : Krydz Ikwemesi
The World Bank Art Program, Washington USA.
The Atelier, Alexandria, Egypt.
The Australian National Gallery Print Collection.
The Civic Museum of Modern Art (Palazzo Collicola), Spoleto, Italy.
The Museo Della Carta Bevagna, Italy.
The International Museum of Womens Art, Scontrone Italy.
The Museum of Joinville, Santa Caterina,Brazil.
City Hall Collection, Curitiba, Brazil.
The International Museum of Ceramic Art Deruta Italy.
Scotland Street Museum, Glasgow.
Art in Healthcare Collection, Edinburgh.
The Contemporary Ex-Voto collection, San Carlo, Spoleto.
The ArtHotel, Perugia Italy.
The Hotel Cristallo Alagna, Valsesia Italy.
The Albornoz Art Hotel, Spoleto Italy.
The Australian Embassy, Belgrade Serbia.
The Australian Embassy, Ghana.
APSP Varalli e Cortese Collection, Todi Italy.
Museo Epicentro Barcellona Pozzo di Gotto (ME) Sicily.
The Nkrumah Library, Dei Centre – N.Y.U. Africa House Accra Ghana.
SABU Cultural Association,Naples.
Bin Ka DiSo Contemporary Art, Abidjan Ivory Coast
Permanent Collection of Camera di Commercio, Vibo Vallentia Italy (awarded 1st Prize in foreign art selection for the year)
ATWORK27, Milan,Italy (Moleskin Collection)
The Embassy of the Ivory Coast, Rome, Italy.
Galleria d’Arte Contemporanea Franco Libertucci, Casacalenda Italy.
C.I.A.C./Centre for Contemporary Art Permanent Collection, Foligno Italy.
FreeMocco Collection, Deruta Italy.
Archivio Italiano dell’Autoritratto Fotografico Musinf Senigallia Italy.
The Embassy of the Cote’ D’Ivoire in Rome.
THe MubaQ Memorial Sculpture Park, Fosso L’Aquila Italy
Video Collection Fondazione Pino Pascali, Puglia Italy.
Artist Book Collection ‘Non Solo Libri’ Milan Italy.
Permanent Exhibition on the occasion of 700 years since the birth of Dante Aleghieri, Dante’s Inferno, 34 Artists , Piazza Dante Rome.
2004 – Found objects from the shorelines of Ghana, West Africa – Dimension circa 600cm x 250 cm
2016 – ongoing – Mixed media, found objects and thread on metal – Each 80cm diameter, double-face