Fancy em Pyetá segundo ato

"Fancy is a sculptural performance work. It’s not about a social persona; it’s an action of experience in a given time frame. Fancy also happens in the relationship she establishes with people. In this relationship, a certain type of ritual is at play. 

She isn’t human; she lives in real fictions. She’s a metamorphosis, a real mutation for as long as she is present in my body and soul. The performance takes place within a specific field, where the boundaries of the body, gender, and image are blurred out. The work comes from desires and personal frustrations regarding those boundaries. Fancy borrows my body as a medium for the enactment of performances that combine art history, sculptural pieces, music and violent actions. 

Upon coming into contact with people, she creates a sort of collective catharsis through hypnosis and the motion of her body. Her hair, her eyes and her 'female' body create confusion and desire, something like an image at once strange and familiar. The actions elicit different reactions, causing public and private to mix. They blur the notion of desire and binary comprehension. 

Art is a very important field in which to act. I pulled together my innermost desires and art repertoire and Fancy materialized. She’s like a painting, I think in terms of layers and surfaces, of how she behaves and how she can exist in space, in the world. However, unlike a painting or a sculpture, she can move, she can trot. She has learned Kung Fu and studied the gothic movement in music, fashion and architecture. 

In Pyetá, Fancy deals with the chaotic question of her ancestors as she stages a Michelangelo sculpture. In the performance, Fancy plays Our Lady of Piety, better known as Pyetá, and a naked black man plays the role of Christ. She cradles this male black body in her arms, and pity and desire come together, breaking down the boundary between the notion of religion and carnal desire. A sculpture of flesh, exchanging the hard, cold marble for the warm, dark-skinned black body."

Rodolpho Parigi in a statement to PLATFORM:VB (July 2015)