Mixing photography, lyrics and collage, Caroline Faiola offers us a very intimate interpretation of the forest, inviting us to take an introspective journey.

A relationship between nature and man, the past and the present, heaven and earth.

The way in which the forest can transmit a bit of its energy to us and become a necessary support to overcome wounds: a refuge, a door that does not enclose but, perhaps, liberates.

I start again listening to the air brushing the leaves
I start to love life again when I wake up awakened by the wind
Where does all this wind go when my world ends
The leaves caress the sky and you walk inside my dreams
I start again opening the door at dawn to flee
Until this deep breath that heals my wounds
And finally, I let you go

(Poem of the picture below)

Caroline Faiola is an artist whose work combines reality and illusion, matter and words, pain and poetry. Her work feeds on her inner searches and her conquests in other places. Her pilgrimages are the theater of her images, images that are the echo of her universe.
Her work is plural, the image is at the center of her work but, many times, the image breaks down to recompose itself, as in her fabrics, whose conflicting result seems elusive; the image is altered to perfect itself (Superposition), it is deformed to transform itself, as in her Notebooks, where ink is mixed with photography, collage with writing, and memories with the present.
Faiola undoes to make, deconstructs to create, diverts to invent. Her work explores the field of the impossible, plays with the spectator’s gaze, challenges him, transports him to a universe between reality and dreams, invites him to unlearn in order to understand better.

Born in Paris in 1985, Caroline Faiola currently lives and works in Spain.
Trained in visual arts, fashion design and photography, she began as a photographer, favoring film work, especially superimposition. During her various travels around the world, she produced several series, notably in New York, where she settled for a year in 2010.
Her latest series of weavings allows her to maintain a more intimate relationship with the material: the paper is cut and reworked, the image is broken down to perfect itself.