Camilla Cerioni’s aim is to move emotions and her main topic is to create a sensual polarity in relation to movements of inner/outer spaces between music and visuals and different sensory natural environments.

Cerioni’s research areas are Visual Poetry, Video Performance, Soundscape, Abstraction, Embodiment, to investigate the correlation between body and senses stimulated in an environment. The research methods are the use of synesthesia, interdisciplinary approach, intercorrelation of visual and music perception, improvisation, being intuitively stimulated by one and then the other sense and then repeated in a perpetual motion and movement, think of a space that made her feel one with nature during the process of creation.

She would like to capture the changes of e-motions, to manifest synaesthetic interior/exterior images and soundscapes, as an historical documentation of emotions and feelings closely related to the moment of artistic creation.
Camilla Cerioni‘s work addresses inner/outer, visible/invisible sonic and visual languages, where the gestures and the movements of the painter are connected to those of the music conductor/composer. The improvisational part of the work focuses on awareness as a process of intimate contact between the work of art and the viewer, reaching beyond what can be seen, in order to discover the other senses. Her research methods stem from her ideas, senses and experiences from Italy to Iceland, where she investigates and searches for a space that makes her feel one with nature and environment during the process of creation.

Her artwork seeks to nourish both senses and the mind and to elicit the nexus of our time and nature.
Cerioni’s focus is to touch and nurture genuine feelings to bring people closer empathetically.
The sonorities of her work are composed of recordings in nature and inner experiences of gentle approaches.

In a society where fewer and fewer deep thoughts and memories are exchanged, the evocation of sharing feelings felt by experiencing art, literature and history is important. As in old societies the orality of myths or ancient songs is necessary for community development.
Creating sonic atmospheres allows a re-imagination of the world we live in now and stimulates the transition from ignorance to knowledge in the contemporary dialogue between deep relationships with nature and absorption of the individual by the technological world.