Rosse rosse

Rosse Rosse — an Italian superlative meaning “very red” — places menstrual blood at the center of the gaze. While blood permeates visual culture — from religious iconography to cinema — menstrual blood remains largely absent, concealed by modesty, taboo, and inherited unease. This absence reflects a history of representation shaped by patriarchal structures and cultural silence. In compositions both staged and intimate, the material qualities of menstrual blood are isolated and amplified: density, luster, fluidity, chromatic intensity. Stripped of euphemisms and metaphors, it appears as it is — matter. Presence. Trace. The recurring contact of skin with blood — ordinary yet unsettling — reveals the tension between familiarity and rejection. The images neither dramatize nor embellish. They simply invite the viewer to observe, to suspend the gaze, and to re-examine perception. By using menstrual blood as both medium and subject, the work foregrounds something intimate and organic, rarely represented and yet profoundly common. Here, menstrual blood is neither spectacle, nor symbol, nor celebration. It is material reality — intimate, cyclic, inevitable. Its red insists. It stains. It remains.