Lindsay Marie Morris

Maria Rapicavoli says she isn't a journalist, but her works of art tell a story about global events tied to Sicily, encouraging viewers to form their own opinions. She's covered issues ranging from the militarization of airspace and immigration to the mafia and the Second World War. Each piece offers arresting and interactive visuals to provoke thought and further conversation. 

One of Maria's many evocative pieces stands out to me for its subject matter: Crooked Incline. For this piece, Maria created porcelain geometric shapes resembling bombs dropped by the Allies during World War II. The work serves as a haunting reminder of the damage wrought on Palermo, particularly by the Americans, who escalated bombing frequency and intensity in 1943. 

Maria, who was born in a town on Mount Etna, has lived in New York for 13 years. She's currently doing an artistic residency program in Palermo organized by Istituto Svizzero.

 

I recently had the opportunity to chat with Maria, who shared her art inspiration and what went into the making of Crooked Incline. 

 

 

What influence does your Sicilian heritage have on your art?

I use Sicily as a starting point for all my projects. I've been doing a lot of projects related to structures of power, economic issues, and socio-political issues. I am constantly taking inspiration from Sicily. Starting from a personal and familiar point of view, I try to make works that have a wider perspective. 

 

What inspired Crooked Incline?

I was invited to have a show in an old Palazzo in Palermo as part of a project called Cassata Drone during Manifesta 12, an itinerant international art exhibition that in 2018 took place in Sicily. I've already done projects about how the sky is controlled and the militarization of the sky above Sicily—even above New York. I've always been interested in the common idea that the sky is open and accessible to everybody, but it's not. There are borders similar to those that are geographical, but the difference is that the borders are often arbitrary in the sky. They're just lines drawn, not based on geographical borders but on what is below the sky. 

I was born in an area near military bases. Some of them are American bases and have existed since 1943 when the Allied forces arrived in Italy, first in Sicily. So, the militarized sky has always been part of my background. As a child, I remember hearing the roar of military planes, but I couldn't see them because they were super fast. However, this doesn't exist anymore because drones are very silent. 

 

While doing this project in Palermo, I was supposed to remake a site-specific installation called A Cielo Aperto, an artwork related to drone corridors. The idea was to recreate the airspace above Sicily. 

 

Because I usually spend one day or night in the place where I work on my installation, I asked the curator if I could sleep in the exhibition space. When I woke up in the morning, I realized something was wrong. I asked the owner of the building, and they told me that the palazzo was tilted because of a bomb that the Americans dropped in 1943 during an air raid. The building was damaged, but it wasn't destroyed. 

Based on that, I decided to change my project. Because my family has a background in construction, I was familiar with plumb lines, which were widely used to create perpendicular lines. 

 

I decided to make visible this damage related to 1943. I recreated plumb lines, but I used porcelain instead of metal. I made a hundred plumb lines and installed them in the space. Of course, the plumb lines were falling straight, but because the room was tilted, there was a sense of disorientation, so I made the plumb lines a little bit bigger, and they looked a little bit more like missiles or bombs. They looked like they were ready to explode or were about to be dropped.

 

Why did you use handmade white porcelain elements?

So, porcelain is fragile, the opposite of metal and stainless steel. I was also playing with the contradiction that they would break and could not damage anything. They would be damaged if dropped, so it's the opposite of real bombs or missiles. 

I've been using porcelain a lot in my practice. I usually use white porcelain and don't decorate it. I wanted to create this contrast because a bomb is usually never white.

 

How do you incorporate historical narratives into your works?

I research a lot, and then I get inspired by one element that strikes me as urgent. I work on that. And usually, it's always about making visible something that otherwise is not really visible. 

 

What is the impact of power structures on your work?

It's all based on a critique and then an analysis of the strongly connected structures. Economic, military, and political structures are all part of the same system. I like to talk about them because I like to talk about the daily consequences of these structures and what affects our lives.

 

Tell us about your current project.

I am working on a piece related to a criminal trial against the Sicilian Mafia, the Maxi Trial (Maxiprocesso), that took place almost 40 years ago in Italy. I have already documented all the folders of the Maxiprocesso. What I'm doing here now is to research the courthouse designed and built specifically to host the trial. I don't know the outcome yet because I just started my research in Palermo as part of the residency Palermo Calling: Art & Science together with architect Fabrizio Furiassi, who is also researching the courthouse. 

 

What do you hope viewers of your art take away?

I don't want to force anyone to share my view. Every time I make a work, I have an urge to bring up something that bothers me or is relevant to make visible. But that doesn't mean that the viewers have the same approach as I do. 

When I make a work, I like that the viewer will have their own interpretation and view. I would like them to have a broader view. For example, I made a video (The Other: A Familiar Story) about the story of a woman from my family who was a victim of domestic violence and was forced to move to the United States. This is a specific story that belongs to my family, but I tried to make it more universal and ensure that the viewer could appropriate it. It could be any woman anywhere in the world. And that's the approach I have with every project I make.

 

 

 

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Dance is yet another medium to paint, sculpt, and transform spaces, says Sicilian-born choreographer Nunzio Impellizzeri. The former visual artist founded Nunzio Impellizzeri Dance Company in 2014 with a mission of offering audiences unique perspectives and experiences as well as a way to dissect and question social behavior.

 

The company's work has been internationally recognized, with performances in theaters and at international festivals in Switzerland, Germany, Russia, Italy, Poland, Finland, Denmark, Chile, Spain, and North and Central America.

 

They're currently gearing up for the November 20 premiere of PINK CARPET, which explores the boundaries between reality and imagination. The piece coincides with the company's tenth-anniversary celebration.

 

I recently caught up with Nunzio to learn more about his journey to choreography and the company's productions.

 

 

Where do you live, and where are you and your family from?

I live in Zurich, Switzerland, but my roots are in Acireale, a baroque city in Sicily, where my family still lives. This keeps me very much connected to my land and its culture. I left Italy in 2003 and traveled around Europe for my dance career. In 2008, I moved to Switzerland, where, later, in 2014, I founded the Nunzio Impellizzeri Dance Company. Looking at today, Zurich is the place where I've lived the longest.

 

Can you tell us about your journey into the world of dance and choreography?

My journey started in the visual arts. I studied art history, sculpture, and costume design, but I always felt something was missing. It wasn't until I stumbled into a rehearsal and observed a choreographer working that I felt that "click"—suddenly, I knew that movement was the language I was searching for. Dance gave me a way to sculpt space with the body, to paint with motion. It opened up possibilities that static art forms couldn't.

 

In 2008, an injury—the breaking of my knee during a performance—became a turning point. That moment was pivotal because it forced me to reflect on what I really wanted. It was a hard period, but in the midst of that challenge, I saw an opportunity to pursue my dream of choreography. In 2009, I was selected for the SIWIC platform for young choreographers, and that was the confirmation I needed. By 2014, I had founded the Nunzio Impellizzeri Dance Company to explore the infinite relationship between the body and space and create a dialogue that connects us all through movement.

 

Our company now works closely with internationally renowned dancers and collaborators, and we've had the privilege of performing at theaters and festivals around the world—from Switzerland and Germany to Chile and North America. What I'm most proud of is the way our work resonates with audiences, offering them a new perspective on dance and movement.

 

How has your background in visual arts influenced your approach to choreography and dance?

Visual arts is the foundation of how I think about dance. I don't just see movement; I see structure, space, and texture. For me, choreography is like architecture in motion. The body sculpts the space it moves through, and that interaction creates a dialogue not just with the audience but with the air, the light, and the ground. Every piece I create is designed with that in mind. Lighting, set design, and costumes aren't just accessories—they're extensions of the movement itself. I often design the costumes because they're integral to the concept of the creation.

 

The body is a living canvas, constantly generating energy. That energy moves beyond the physical; it moves the soul and creates connections. Dance allows me to see beyond what is in front of me. It keeps me connected to life in a visceral way, and it shapes how I perceive others and how I relate to the world.

 

Your works often reflect social phenomena. Tell us how you choose the themes for your productions.

My inspiration often comes from everyday life—things we see but don't necessarily pay attention to. Sometimes, it's something I've ignored for a while, and then it suddenly captures my interest, almost obsessively. From there, I dig into it—researching through lectures, films, art, philosophy, mythology—until I form the framework for the piece.

 

The themes I choose often come from observing human behavior in social contexts. Dance is such a powerful way to explore identity, silence, and connection—things that deeply resonate with our current times. I believe dance can move not only the body but the mind and soul. It challenges people to reflect on the world around them and to question and see things differently. My goal is to create works that spark dialogue and inspire reflection.

 

How do you integrate elements like set design, lighting, and costumes into your choreography?

These elements are not separate from the movement; they're intertwined. The body moves, it stirs the air, it transforms the space. Set design, lighting, and costumes amplify these dynamics. For me, it's about creating a holistic experience where everything works together to heighten the audience's perception.

 

Much like an architect designs a building to interact with its surroundings, I design my sets and lighting to interact with the dancers' movements. Costumes, too, play a key role—they're not just what the dancers wear but a part of how they move and inhabit the space.

 

Tell us about more PINK CARPET.

This piece is very personal to me. It delves into the boundary between reality and imagination, inspired by my mother's experience with Alzheimer's. The carpet itself becomes a symbol—a bridge between the tangible and the intangible. It's a deeply emotional journey, both for me and, I hope, for the audience.

 

What else is on the horizon?

2024 has been very intense with many projects. I recently finished the creation of CIRCOLANDO as a guest choreographer for a Swiss dance company, and now I'm also looking forward to FLAM.ME.UM, premiering in Germany at the Anhaltischen Theater Dessau in January 2025. This piece explores the evolving concept of identity, something I feel is more relevant than ever. Both pieces reflect my ongoing exploration of how personal experiences can resonate universally, connecting us through the unpredictable flow of life.

 

Can you share a memorable moment or experience from your career that has significantly impacted you?

Creating SCH.NEE in 2022 was a turning point for me. The challenge of working with silence and minimalism forced me to push my boundaries as a choreographer. The process required a level of focus and simplicity that I hadn't explored before. Seeing how deeply it resonated with the audience reaffirmed my belief in the power of art to connect people on an emotional level. It was a moment that opened up new dimensions for me as an artist.

 

What advice would you give to aspiring choreographers and dancers?

Stay curious, stay open. Dance is about more than just movement—it's about communication, about connecting with people on a deep level. Your body is a vessel for telling stories, sharing perspectives, and moving the souls of others. Embrace the challenges, and don't be afraid of failure—it's all part of the process.

 

I work with dancers who have strong technical skills, but I also value individuality. I want performers who can bring their own unique qualities to the stage. My advice is to stay true to yourself while remaining open to collaboration. Success, both as an artist and as a person, comes from that balance. Every creation is an opportunity to grow; each experience will shape you in ways you can't predict.

 

 

 

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Emerging in the 19th century, when Sicily's working class would gather nightly to watch puppet shows for entertainment, Opera dei Pupi is today recognized by Unesco as a Masterpiece of the Oral and Intangible Heritage of humanity. Generations of marionette puppeteers carried on the tradition, also known as Teatro dei Pupi, performing stories from medieval chivalric literature, Renaissance Italian poems, saints' lives, and tales of bandits, often improvising the dialogue.

 

In its heyday, there were about forty Opera dei Pupi theaters. Today, 10 companies perform in six Sicilian towns. 

 

Times have changed. The COVID-19 pandemic didn't help. But the art continues—thanks in part to Syracuse puppeteer Daniel Mauceri. 

  

For 40 years, Daniel's family has carried on the tradition of building puppets and staging performances. The puppet artist grew up with hands often covered in paint, surrounded by the scent of wood and the sounds of grandfather Alfredo Vaccaro, tinkering away with his utensils.

 

Daniel credits his father, Umberto Mauceri, with nurturing his manual skills, which he uses today in creating and restoring puppets that appear in private homes as well as in international museums. And, of course, there are those puppets reserved for puppet shows. 

 

Performances are geared for all ages, tapping into classical themes and stories as well as new interpretations. The theater caters to all ages and even offers shows in English by request.

 

I recently caught up with Daniel to learn more about his art and adherence to tradition, as well as puppetry's place in modern society. 

 

 

What is your background?

I am originally from Sicily, a land that lives and breathes the tradition of the Opera dei Pupi. I live and work in Ortigia in Syracuse, among workshops and theaters that were part of my childhood and my growth as an artist.

 

What inspired you to continue the family tradition of Opera dei Pupi?

I was born and raised within this ancient art. Even as a child, I knew and wanted to become a puppeteer. Growing up surrounded by puppets and everything that revolves around them has fueled in me a deep bond with this tradition. I felt the need to give it new life, respecting the roots but also adding my personal touch by creating an association that allows me to perform shows and a brand that bears my name, "Daniel Mauceri Arte Pupara dal 1978."
 

What are some of the most difficult aspects of creating these puppets?

One of the most challenging aspects is certainly maintaining the high-quality craftsmanship of each puppet, respecting the precision in the details. Each work requires hours of meticulous work, from the carving of the wood to the painting of the faces to the embossing and chiseling of the armor. Each step is essential to conveying the authenticity and emotion of this work.
 

How do you ensure each puppet maintains the traditional elements while also incorporating your own unique artistic touch?

Respect for detail is key. Each puppet comes out of a studio and still follows the classic canons in realization, such as the use of authentic materials and traditional techniques. However, in the creative process, I add a personal touch, both in the expressions of the paper-mâché faces to give each puppet a personality that distinguishes it and in the creation of the armor.
 

What materials do you use for the puppets?

The puppets are mainly made of pine and beech wood, paper-mâché for the faces of the puppets, and copper, brass, nickel, silver, or bronze (all beaten by hand) for the armor. I find the materials through national suppliers.
 

How has the art of Sicilian puppets evolved over the years, and what role do you think it plays in modern culture?

The art of puppets has changed little in its essence, but today, it has a different value. It has become a cultural symbol that represents Sicily all over the world. In modern culture, puppet theater acts as a bridge between past and present, educating and fascinating new generations.
 

What is one of your most memorable moments as a puppeteer?

One of the most memorable moments was seeing a child's reaction during a performance. His eyes lit up, and at that moment, I realized that, despite modern times, puppet art still has the power to enchant. This same child, now grown up, helps me during the shows by moving my puppets.

What advice would you give someone interested in learning the art of Sicilian puppets?

I recommend studying the tradition in depth and approaching the puppet families with humility. You could also initially take advantage of my workshops on the construction of the puppets. It is important to understand that this tradition tells an ancient story. You have to respect the times and methods of the past, but don't be afraid to add something personal.

 

>>Learn more about Daniel Mauceri Arte Pupara dal 1978 here!<<

 

 

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I would be remiss if I did not include my sister, Catherine Maita, among my picks for interviewees for this blog. Catherine studied abroad in Italy for a semester during her senior year, where she not only learned Italian and studied art history but also met her future husband on the isle of Capri.

 

An Orange County, California, crystals designer, Catherine crafts unique tablescapes and jewelry pieces, which she sells under the name of Cristalli di Cat at farmers markets and on her Etsy store. We sat down to chat about our childhood, the people who inspired her, her process, and her business's future.

 

Can you describe your connection to Sicily?

Our maternal grandparents (Nonni) were Sicilian, and their families were from Porticello and Palermo. Mom's influence aligned our family with Sicilian culture and traditions throughout our youth. Sunday family meals prepared by Nonna, watching Italian soccer, and gardening with Nonno were some of my fondest childhood memories. During our cherished family time during these weekly visits, our Nonni shared much about our heritage. Being so connected to family and wanting to meet our relatives in Italy and visit our grandparents' homeland led me to sign up for a college semester abroad in Rome.

 

While abroad, I first lived with our Sicilian relatives in Palermo for three weeks before my time at the American University of Rome. During my stay in Sicily, I became wholly immersed in our family's heritage, meeting our relatives and hearing their stories. They also further introduced me to the Sicilian cuisine and culture. While there, I learned so much about our Nonni's upbringing. I visited Mondello Beach, where my Nonno would swim in the Mediterranean. I stood in the street where my grandparents first met as youth and met our cousin, who still runs our family's now third-generation tabaccheria. 

 

During my semester in Rome, I returned to Sicily that fall for a weekend in Porticello to attend the Festa Madonna del Lume with our family. This grand celebration started with a town-wide religious procession, starting at the church where our Nonni were married. It was one of my favorite experiences of my time in Sicily.

 

What was the inspiration for Cristalli di Cat?

The name of my business is Italian for Crystals by Catherine. While studying in Rome, I took an art history course.

 

Before my time in Rome, our brother, Erik, had always inspired me with his creations: paintings, sculptures, and graphic designs. This influence was my baseline for being attracted to creativity, leading me to sign up for this class when enrolling for my semester coursework.

 

Daily lessons in this art history course were instructed outside a classroom. Classes took place among the art in churches around Rome, as famous artists painted frescoes that remain. During this class, we also frequently visited architectural structures in Rome. The designs and custom works throughout the city were genuinely fascinating, and I have held this inspiration for years.

 

When I lived in Rome, I also visited open markets every Saturday to practice conversational Italian through interactions with vendors. During these visits, I became attracted to stone- and crystal-designed jewelry and handmade creations by these local artists. I began collecting crystal and stone jewelry pieces for myself and as gifts for friends and family.

 

Several years after this college study-abroad experience, I turned to floral design as a creative outlet for stress relief management. I was coping with my emotions around our father's terminal illness, and designing became a soothing outlet for stress relief. I could reconnect with my passion for art. This therapy then translated to a business venture as I had friends and family encourage me to pursue starting my own small business to share my work with others.

 

I spent a full year visiting southern California artist markets on the weekend to get advice from small business owners and to gather inspiration for new designs. During that year, I also attended my first Gem Faire event. Exploring crystals at the fair, I felt an immediate connection to these elements. I knew then that I wanted to work with crystals and incorporate them into my design work.
 

 

Describe your works.

My crystal design arrangements feature thoughtfully curated crystals, stones, and dried florals. I envisioned combining these elements to create a soft (florals) and sharp (crystals) visual effect, drawing in calming vibes from these competing but connected properties.

 

My jewelry designs feature hand-selected crystals as pendants on gold chains. In my personal style, I layer accessories and encourage my clients to explore mixing properties of different crystals in their own stylish looks. I also design rings with vibrant and sometimes oversized stones, making many statement pieces. For my jewelry line, I don't have any two identical pieces, making each piece unique and one of a kind.

 

How do you source your materials?

I always want to ensure the quality of my materials for my clients. I source materials for my designs from a network of wholesale vendors who source directly from mines. I set up private viewings to hand-select elements. My other go-to space for curating materials is Gem Faires throughout Southern California and Arizona. I can find some of the most unique items at these fairs and support other small business owners. For my floral designs, I source from business owners of wholesale flower shops and from vendors at farmers markets. 

 

What is your process behind designing a new piece?

Inspiration for my designs is a constant trail of ideas coming to me during nature hikes, visits to museums and art festivals, and time spent at calming places like Laguna Beach.

 

Another hobby I have had for years is photography. I am constantly taking photos of inspiring places and views around Southern California. When I need a dose of inspiration, I retreat to Laguna for a long walk and take photos of exciting views of the water and surroundings on the walking trails. My photo captures and viewing crystals at Gem Faires generally lead me to ideas for new designs and collections for my business.

 

I am very much in the moment when inspiration hits. I will literally be at a Gem Faire setting crystals together on a table, zoning out, and designing among the crowds. I also keep a design ideas notebook to capture my ideas and sketch out design looks. Once I have a vision for a new line, I work with my suppliers to source materials. Then, I bring myself to a calm space with music and materials and design the entire collection in one sitting. When the creativity is there, I don't stop designing until I feel the collection is complete. 

 

What are your cultural or historical influences?

My floral designs are inspired by our Sicilian great-aunt Josephine. Following her retirement from teaching, Auntie Jo owned a floral design business. She had Parkinson's disease, and floral design was a calming escape from her ailments. She created beautiful works by hand, which she donated to local hospital gift shops in efforts to raise funding for Parkinson's research.

 

Every time we were together, Auntie Jo was designing or handcrafting gifts for people. She encouraged us all to design with her… It was a wonderful inspiration at a young age! We witnessed her work filling people with immense joy and bringing colorful art into their homes.

 

In my early adulthood, living in Rome and traveling throughout Europe during weekends and school breaks for four months at university there served as constant inspiration. I believe my bold, structured, and statement looks are drawn from my experiences and cultural immersion in the European lifestyle. The fast-paced movement, the fashion, and the fascinating history of Rome greatly influenced me. Cobblestone streets, quiet hilltop views of the city, busy streets, and historic structures all contribute to my design aesthetic. In Sicily, the ocean colors, vibrant tones of fruit at the markets, and the gorgeous landscapes inspired me so much. I captured so many design ideas then that I am now further exploring and infusing them into my work. 

 

You do custom work. Can you describe that process?

I create many personally envisioned designs but receive several custom requests for my work. Generally, in my custom orders, someone is looking for an arrangement to fill a home or office space or get a gift for a friend or family member. I also get requests for event design work. I have planned and hosted hundreds of events, from large-scale corporate events to intimate client engagements to birthday parties for my daughter. 

 

For every custom order request, I'll first meet with a client to discuss their vision and ask them to send images of their space for the design. I ask for preferences for specific colors or healing properties they want to bring into their space. I always want to ensure that I have captured someone's vision, so I will create several different looks to provide options to the client. If I'm designing for a "zen den" or calming-type space, I'll generally have very soothing colors or soft florals like pampas. For event decor, it can be anything from helping to determine a theme to table settings and even guest party favors. I photograph these design looks and provide a lookbook that I pitch to clients. Seeing someone's vision brought to life in my work is always so fulfilling. 

 

What are your most popular pieces?

Probably the most requested design is the first arrangement type I created when I launched my business. I call the design a "crystal garden." In this design, crystals and florals are combined and collected into a singular space on a wooden carved plate. These arrangements can easily be set on a side table in a room or atop an office desk. I have a client who keeps one in her yoga studio, and we have added several crystals over time to that space, which is now an entire "crystal wing" in her studio.

 

My other most requested pieces are large crystals in a design scape for a home entry or table centerpiece look. These generally include very unique crystals that I will source at Gem Faires.

 

Another very popular piece is my jewelry, which I just launched this year. I wear my creations for calming vibes and to amplify styled looks, and I generally will get customers by people approaching me to ask where I got my necklaces or rings. I am always thrilled to design jewelry for new and existing customers, as I can attest to the good energy and happiness that comes with these creations!

 

What are your plans, and can you give us a hint about upcoming collections?

Since I launched my business in 2022, I have been involved in markets and in-store collectives. I also have an e-commerce space on Etsy and accept custom orders through my website and Instagram. I want to continue to grow my brand's presence in those spaces.

 

I am also in conversations with other artists about collaborations. I plan to expand my client base in the custom design space, as I have found great joy in bringing scapes into people's homes and other spaces.  And I want to build my jewelry and accessories line.

 

Many clients return to me at markets or through message requests to add to their Cristalli di Cat jewelry collection. The response to my necklace creations led me to launch ring designs to complement necklaces as accessory sets. I will hopefully soon also have crystal earring designs to offer.

 

I have ideas for other special products for my shop in the future. I'd like to source and sell other home decor or lifestyle items that would elevate or enhance my pieces.

 

My favorite future plan is to continue to teach my daughter design and help her develop what I see as innate creative skills. She has launched her own side table kids' toys and games sales booth at markets where I am a vendor participant. I want to continue to inspire her to pursue her curiosities as a young entrepreneur and to encourage her to maybe one day start her own business or two. 

 

 

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