Francesca Busca

Haunted by the idea of mankind’s imminent self-destruction, Francesca believes in a future for humanity of resourceful innovation through re-thinking, re-purposing and reducing, pushing for a swift move to an all-encompassing circular economy. Her works are made of rubbish and found material.

In My Name, 2018 - Mosaic: c. 1000 of my old business cards (recycled paper) on wooden board, direct method 21.5 x 38 cm 100% reused material. Self-critical piece

In her early life, Francesca challenged herself by focusing on things that did not come naturally to her (e.g. going into Law after studying Classics). Yet, she tried for years to placate her internal restlessness by living in different countries and cultures (Pordenone, Padua, Denver, London, Paris, New York...). When she reached 40, with the responsibility of a being mother, Francesca settled between London and Trieste and found her outlet in what she liked and did best, namely using her hands to create.

Art exhibitions, painting, and modeling clay were regular hobbies which never satiated her inherent creative nature. Finally, she entered the Scuola Mosaicisti del Friuli, in Spilimbergo: a whole new world of WONDERS opened up.

She wanted to learn how to do it properly. She took various courses in London, Spilimbergo, and Turkey, and is studying toward a Mosaic Diploma at the London School of Mosaic.

Busca is part of the BAMM Committee in the role of Exhibition Officer, and has taken permanent residency at the London School of Mosaic, where she holds a shared studio and teaches short courses from February 2018 on the innovative subject of "Mosaic as Mixed Media".  Francesca is also a member of the Governing Body of the London School of Mosaic.

Hybrid Cactus (...And Then It Wasn’t), 2018 - Plastic, bone, marble and smalti on marine ply 25 x 43 cm 100% reused material. A year worth's supply of the same medicine vial, fruit nets and used plastic cutlery
Pins and Needle, 2019 (detail) - Plastic and metal, 100% reused discarded material: around 800 pins and a needle on wooden board 32 x 12 x 6 cm
We're In It , 2018 - Installation: wood, cement, bark, metal, ceramic, glass and mirror 79 x 43 x 42 cm
Contemporary human detachment from reality, where our positive contribution to the ecosystem seems to happen by chance, ironically from something we despise. For from diamonds nothing grows, but from manure, flowers do (De André). Time to remove the plate?
Just Because You Don't See It... , 2018 - Mixed Media: metal, fabric and pollution dust on wooden board 35 x 18 cm
Braille writing. Revolving around the upcoming LIGCA project on air pollution A Breath of Fresh Air with schools in London and Delhi. Contour darkened with pollution dust collected from my window sill after 6 months of exposure to street traffic
The Need for Deconstruction, 2019 - Screws, fruit nets, filati and marble on wooden board 41 x 51 x 6 cm
For The Smaller Good, 2019 - A year's supply of used disposable plastic thyroid medicine vials 30 x 40 cm
Beehivis, 2017 - Mixed Media: plastic, metal and mother-of-pearl on wooden board, 90% reused material 36 x 45 cm
An artificial beehive: the more we advance in every field, the more we imitate Nature's perfection…but rather that recreating it artificially, should we not safeguard the real thing instead?
Crit Me, 2017 - Mixed Media: paper, plastic, metal and fabric on thin metal board 31 x 20 cm
Mostly made with reused discarded Canary Wharf New District site material and reproductions of artworks from the CWND 2017 Residency.
Bin The Future, 2018 - Staged Photography (layered artwork) 30.5 x 40.5 cm
4th layer. Inset, progressively: Empathy, Inheritance, Forever

This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist


 

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