A portrait of a community of women from different cultures, trapped within cultural and religious customs and rituals. The wall has a painterly feeling. The characters move around silently in a digital collage of video and physical objects. Their repetitive motions seem to indicate that they are not really going anywhere.
Asimini is interested in recurring daily activities such as carrying grocery bags or crying, alongside references taken from mythology or religion (like Narcissus and St. Lucia for this work). Her preoccupation with the transformation of body and image is to be found in nearly every aspect of the works shown here. She chooses to photograph her characters from points of view that turn the whole body into one of its organs – the eye. The observer becomes both the observed and the observer. The eye, argues Asimini, is the human body’s most authentic organ: medical research has proven that even when there is brain damage, the eyes can still sense the world outside and communicate with it. The sculptural objects which are inspired by the image of the dreamcatcher, are according to Asimini, portraits of real people in her life and symbolize the wish to endow them with an object to trap the “baggage” in their lives. This series of objects refers to people’s belief in the ability of objects (amulets, cultural symbols, sacred items) to influence their lives and change them.