Federica Peirone has been around since 2001.
After three years at the amateur circus school Fuma che ‘Nduma Scuole di Circo in Italy, and two years of preparatory training at the École de Cirque de Lyon (ECL) – class of 2020–2022 – Federica continued shaping her practice at the Centre National des Arts du Cirque (CNAC) in Châlons-en-Champagne.
There, she draws free inspiration from YouTube videos about space and from the world’s longest domino competitions. In other words, she floats calmly between the infinitely large and the infinitely small.
Since 2020, she has been merging hand-balancing with object manipulation, fully captivated by the “sex appeal” of matter. She continues this practice with a strong passion for detail and for the state of presence that balance induces.
She explores antipodism through a wide variety of objects: wooden blocks, bamboo sticks, small school chairs, bouncing balls, paper tubes—basically anything that happens to land between her toes.
In 2022, in the midst of this compulsive scattering, she encounters the TUBE.
A rather peculiar object, at once the most banal and the most useful in the world, which suddenly becomes the central focus of her research.
Federica then begins the trans-tube-humanization of her body. She slips tubes on, flips them, swings them using nothing but her desire and her feet.
Even today (she has no idea how long this will last), she continues her quest for maximum deformation—or, in another sense:
She contemplates disappearing, submerged in matter.