Fanshaw Projects is a domestic loft/gallery hybrid, animated by the vision of curator Zeynep Koksal. She calls it a ‘living laboratory’: a space open to curiosity, testing, and transformation – qualities much needed as the traditional gallery system falters.

The exhibition unfolds as an alchemical environment, at once tender and unsettling.

Giudette Vettese

'Fool Moon', 2025,

Aluminium and Stainless Steel,

Fanshaw Projects, London.

Through sculpture and video, Vettese channels erotic energy as a force that grounds existence, opens onto otherness, and drives the self toward dissolution. Her works invite the viewer into a meditation on the erotic – not as titillation, but as a vital, destabilising current that binds us to death, desire, and transformation.

Koksal’s role is crucial here: she reflects that months of working with Vettese drew her into her own sensuality. The curator–artist relation becomes porous, intimate, and necessary.

Eroticism, as Georges Bataille writes, is assenting to life up to the point of death – a trembling passage where the individual dissolves into a larger, more terrifying totality.

Vettese embraces this threshold.

Her In the Heart of a Sphere ceramics pulse like vulnerable skins: raw, unglazed surfaces split open

to reveal iridescent red eggs.

They recall the womb, intuition, and mortality –

the fact that to be born is to already be

bound to death.

In 2 Snakes Making Love, the erotic slips into ambivalence. Vettese describes watching snakes knot together in her garden with something of a voyeuristic delight, a pleasure she lets us share.

Caught within marble, their bodies oscillate between violence and tenderness. Neither front nor back is privileged; light makes visible their merged, unreadable forms – erotic, threatening, protective.

Vettese lets the serpents embody erotic energy as resistance – dangerous yet necessary bodyguards of transformation.

Vettese extends this lineage, turning the snakes not into punishments but protectors. The monstrous feminine becomes the site of erotic resistance. The snake is a woman. The snake is eroticism itself. In Test 4_Medusa, Vettese’s face contorts and morphs, twisting toward excess, evoking the proximity of orgasm to death.

Clay, in Vettese’s hands, is as erotic as flesh – pliant, wet, yielding, resistant.

To shape it is to love it. Like Annie Ernaux, who once said she makes love in order to write, Vettese allows sensation to lead in order to translate erotic force into form. Within the depths of the body, where sensation precedes reason, creative energy is stirred. In a culture that commodifies identity and productivity, as Byung-Chul Han diagnoses, the shift from ordinary state to erotic state is increasingly unwanted: it is unproductive, resistant to optimisation, incapable of being managed or monetised.

Giudette Vettese

'In the Heart of a Sphere 9', 2025,

Bisque and Glazed Ceramic,

Fanshaw Projects, London.

To lose oneself in eros, to agree with Bataille, is to risk waste, risk excess, risk dissolution – all the things neoliberal reason seeks to suppress.

And yet Vettese insists that it is precisely in this loss of control that creation becomes possible. The erotic, in her work, is not a deviation from life’s economy

but the furnace in which new forms, and new selves are forged.

 © perediza 2026