ALESSANDRA LETA
Born in Milan, 1997, Alessandra Leta is a visual artist. Trained as a photographer, her practice incorporates image-making, sculpture, installation, and mixed media. She primarily works with found objects and images retreived online, investigating the acts and language of collecting, looking, and display across historical and contemporary contexts.
She is currently based in the French Alsace and has her studio in Basel, Switzerland.
She also works as a commercial photographer.
WORKS
Chamber Drama (2026–)
Stressing the Surface Under (2026)
Shiny Things in Dark Rooms (2025)
The Unmovable Mover (2022-2024)
A Sudden Unspeakable Sweat (2024)
CV
CONTACT
hello@alessandraleta.com
instagram
+41 77 814 XX XX
ATELIER
Unterdessen
Schanzenstrasse 13
CH-4056 Basel
STRESSING THE SURFACE UNDER
(2026)
Stressing the Surface Under begins from a simple observation: architecture is never as stable as it pretends to be.
Floors bend, walls crack, supports lean onto one anothr, surfaces absorb pressure. Developed during her
residency at Fondation Fiminco, Alessandra Leta’s works from this project move through fragments of
domestic and architectural space: the temporary space of her studio and the endless online space of Paris’ Lebonoin
catalogue, from where the artist collected discarded materials offered for free across the city. The search for
materials gradually became inseparable from the work itself, a way of reading the city through what it
abandons, replaces, or leaves behind.
Stressing the Surface Under, Studio view,
Open Studios, Fondation Fiminco, 2026
Untitled, 2026
MDF, aluminium, lambda print, plastic, mylar, screws
33 x 30 x 8 cm
Fold in T, lateral flexion, 2026
Oil on MDF, cardboard, lambda print, wood tint, vinyl, glue, screws
12, 5 x 20 x 10 cm
B.B.B. (opened three times), 2026
Acrylic and gesso on reclaimed wood (parquet flooring tiles), found brass
furniture ornaments, plywood panels, wood tint, glue, screws
89 x 122 x 3 cm
B.B.B. (opened three times), 2026
details
Acrylic and gesso on reclaimed wood (parquet flooring tiles), found brass
furniture ornaments, plywood panels, wood tint, glue, screws
89 x 122 x 3 cm
Wife’s Cabinet (I wouldn’t translate that as Goodbye if I were you), 2026
detail
inkjet print, oil on MDF, wood, glue, paper, nylon, mylar, cardboard, pins,
miniatures, screws
120 x 67 x 44 cm
Wife’s Cabinet (I wouldn’t translate that as Goodbye if I were you), 2026
details
inkjet print, oil on MDF, wood, glue, paper, nylon, mylar, cardboard, pins,
miniatures, screws
120 x 67 x 44 cmParquet flooring removed from forgotten interiors climbs vertically onto walls, no longer functioning as a
surface to walk on but confronting the viewer directly. Structural details usually hidden inside architecture
become exposed and strangely vulnerable. Surfaces fold back into themselves, supports become ornamental, the
architecture of the room begins resembling a body simultaneously held together and slowly exhausted by the
effort. Accompanying the sculptures is a long text written during the residency. Moving between architectural
theory, bodily gestures, modernist interiors, found images, and fragments of fiction, the writing develops
beside the works.
The project was developed during her Residency at Fondation Fiminco, Romainville, Paris, thanks to the support of the Italian Ministry of Culture.