Nicola Constantino

Nicola Costantino was born in Rosario, Argentina November 17, 1964, and attended the School of Fine Arts, National University of Rosario where she was introduced to the art of working with silicone molds, which eventually became the basis of her work.  During her education, Nicola took classes from the sculptor Ennio Yomi, while also learning taxidermy and the embalming of mummified animals.  She spent some time in America for additional training and schooling, and eventually became a professor teaching others the craft that she acquired from those that I see as her mentors. 

Nicola’s work seems to center around the body, transforming it, using it, and applying it to the everyday objects.  Her piece Winged Nicola places her in the middle of the action.  From a small picture view, I thought this piece had her standing on a stool with large wings placed behind it.  She reminded me of The Winged Victory of Samothrace, a 2^nd century Greek goddess.  But upon closer inspection, the wings are actually the skinned body of an animal, possibly a pig (several different images of her has her staged with a pig).  Nicola’s stance is the same as the marble statues of Greek goddesses, but the juxtaposition of an animal’s body bring new meaning to the piece.  I’m unsure of the exact title of the piece, one site I found had it named Winged Nicola while another had a title of Venus com Asus.  Because the bulk of the information written about Nicola’s work is in another language, the translations I found didn't seem correct (referring to her as a “he”).  Due to the loss of translation, I am unsure what the meaning of the piece is, and can only conjure that she is placing herself as a Greek goddess, but without knowing what the animal is I am unsure on what the meaning of the piece can be.  But I still thought the piece was interesting, all the same.

Winged Nicola, 2010

Injected Print (Photograph)

68 1/8 x 53 1/8 in.

Another installation of Nicola’s work that I enjoyed is Peleteria Humana (Human fur Boutique).  This collection of work represents different woman’s apparel items, along with accessories.  While that sound pretty simple (and somewhat plain for sculpture), Nicola really ups the ante by covering each piece in human hair and colored latex cloth that has the pattern of nipples.  The material is a naturalistic representation of skin, making the viewer think that the bags, shoes, corset, and dresses are covered in nipples, real nipples.   While some people recoiled in disgust at the vision of nipples on women’s accessories, I feel that the installation is amazing.  It’s said the meaning is to “play with notions of the natural and the artificial, ideas of identity in a consumer society, and the materialism of the human body in contemporary times”.  Women’s identity seems to align with what they wear; they are feminine if they wear heals and carry designer bags, but more masculine if they are in tennis shoes and t-shirts.  The idea that our clothing or accessories define us is absurd, and once society sees that then women can break away from the adage of what society sees women as, and become who they are ~ themselves. 

Peleteria Humana, 1998

Human hair, colored latex cloth

Human Furriery, 1999-2006

Human hair, colored latex cloth