Biography

Aurora Pellizzi is a contemporary artist based in Mexico City. She studied art at the Cooper Union School (BFA, 2010) and art history at New York University (BA, 2005). Her most recent solo exhibitions include Geometric Daydreaming at Galería Leyendecker in Tenerife (2026), Entrelazo at La Tallera Siqueiros (2025), Tapetates at Instituto de Vision in New York City (2025), Gorgona at the Museum of Contemporary Art in Monterrey [MARCO] (2024), Cuerpos Flotantes at the Italian Cultural Institute in Mexico City (2022), Focus on: Aurora Pellizzi at Lisa Kandlhofer gallery in Vienna (2022), Transfiguration at Canada Gallery in New York City (2021), and Serpientes at l’Appartement 22 in Rabat (2016). She has participated in institutional exhibitions at the Gallery of the Municipal Palace of Puebla, Palazzo Franchetti in Venice, Museo de la Ciudad de Querétaro in Queretaro, Fundación Casa de México en España in Madrid, The Bunker in Miami, Franz Mayer Museum in Mexico City, Museo de Arte Maya in Cancun, and at the Museo de Artes Populares de Mexico in Mexico City. Pellizzi has published three artist book publications to accompany her exhibitions Entrelazo, Ediciones Temblores (2026), Transfiguration, Can Can Press (2021), and Serpientes, Edition Hors Champs (2016).
 

Project Summary

During her residency at Villa I Tatti, Aurora Pellizzi plans to continue her research into Florentine Renaissance textile traditions. She will focus on historic embroidery and weaving techniques such as bargello, or nué, trapunto, damask, and brocaded silk velvet. Utilizing the extensive archival holdings of I Tatti’s libraries, Pellizzi will complement her theoretical study with material analysis at key regional institutions, including the Antico Setificio Fiorentino, the Museo del Tessuto in Prato, and the Costume Gallery at Palazzo Pitti. Additionally, she will examine primary historical artifacts housed in the Bargello National Museum, the Stefano Bardini Museum, and the Palazzo Davanzati. She will also undergo technical training in antique Jacquard loom weaving at the Fondazione Arte della Seta Lisio. This historical and technical research will directly inform and deepen her current weaving practice while establishing the conceptual and material framework for a new series of textile works. Through this project, she continues her interest in synthesizing foundational Renaissance textile methodologies into complex woven narratives that bridge historical craftsmanship with contemporary art, ultimately exploring the global and transhistorical continuity of textile practices.