HERE IN PONTE EGOLA, FLORENCE, MY STORY BEGAN -1972
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Blejzca investigates the liminal zone between analog and digital practices, positioning her work at the intersection of psychedelic imaginaries and bourgeois cultural conventions.
Her artistic process resists closure and predefinition: rather than producing finalized, programmatic objects, it operates as an open field in which emergent forms converge, activating a continuous dialectic between flux and structure.
42×30 cm. Ink on paper – BOLOGNA 1980 – GENOA G8 – G. SIANI – ILLUSTRATIONS CREATED ON COMMISSION
Born from a context shaped by her parents experience in the Ponte Egola commune in Toscany, Blejzca was raised within anarchic and experimental environments marked by the widespread use of LSD. Her creative formation draws upon underground music cultures as well as the critical and intellectual influence of her father, Alfredo P. philosophy teacher and journalist, who fostered a milieu that included figures such as Andrea Pazienza and contributors to the satirical and countercultural magazine Il Male.
Blejzca absorbs this subversive lineage and reinscribes it within the disciplined frameworks of design, deliberately destabilizing their apparent rigor.
Working across 3D painting and graphic art, she has collaborated with numerous agencies as a graphic artist. She studied and then taught at IED Milan and has worked in leading design studios, including Grafco -SF CA and Origoni & Steiner Architects in Milan, contributing to projects for Renzo Piano Building Workshop, Triennale di Milano, Museo di Verona, as well as for Disney and Warner Bros. educational CD productions.
Within Blejzca’s practice, the image becomes a conceptual space for negotiating rules and limits-structures within which the desire for totality is both articulated and undone.
Her figures resist containment within reassuring or stable forms, instead mobilizing memory and stereotype as critical devices through which expectation is dismantled.
The digital brush relinquishes authorial control to the contingencies of the subject–object relationship, while the 3D pen extends the pictorial field beyond the canvas into spatial dimensions. Order, in this context, is not attainable; what emerges instead is the desacralized precision of chaos.
