Seminessenza, seeds for the soul
- Maria Teresa Falabella
- 4 days ago
- 4 min read
Interview with Maria Teresa Falabella
1. Please tell us something about your background and your art journey so far.
My art journey is fundamentally rooted in a lifelong curiosity—a restless exploration of both the physical world and the inner landscape. This dual perspective was forged early on, moving between the vibrant intensity of Catania, Sicily, as a child to the dynamism of Lagos, Nigeria, as a teen ager, This path, marked by travel, led me later on to graduate in Textile Design in Florence.
My subsequent years working at the National College of Art & Design in Dublin and the Reykjavik Art Academy in Iceland deepened my commitment not just to creating art, but to the processes of craft and education. While teaching remains a vital part of my structure and vocation, my raison d'être is the studio, where I continue my research and production.
Ultimately, my art practice is rooted in Drawing. It began with textiles, like if coming out of yarn but evolved into portraiture—a way of mapping the human story. Every face I encounter is a synthesis of my experiences: a map of history, light, and transformation. My art, therefore, is the quiet synthesis of the places I have lived and the stories I have listened to.
2. Can you tell us something about the theme in your art and your inspiration?
The main theme in my portraiture is the celebration and illumination of the unique human spirit, particularly focusing on the depth of the feminine essence, which I believe resides in all beings.
My portraits are born as an act of active meditation. I am inspired by the faces—of women and men—that accompany me, past and present, seeing them as sources of profound inspiration. The face is where a lifetime of story is written, and I seek not the temporal narrative, but the one that must be listened to from within.
This process is deeply connected to nature. I often juxtapose the human form with images of flora, and at times fauna, viewing the subjects through the lens of the plants symbolic meaning, its growth, and its unique vibration. It is a way of manifesting a world that is perceptible but often invisible, reminding us that every being is a testament to transformation, courage, and rebirth. For me, the deepest inspiration lies in the wonder of this constant, sacred cycle of life.
3. How does your art life impact other parts of your life?
My art life doesn't just impact other parts of my life; it infiltrates and informs them.
As a dedicated teacher and artist, the two roles are in constant dialogue. My professional life in the school provides a necessary structure, but the core of my existence—the artistic practice—dictates how I see the world. It teaches me deep listening.
In my portrait work, I assert that a portrait is always a self-portrait. When I am focused on the 'other,' the light reflects back, breaking down the separation between 'me' and the subject. This act of dissolving boundaries has taught me to embrace disorientation—to lose myself to find myself. It means that in every encounter, in every relationship, I look for the possibility of connection and the hidden threads that unite us. Art is not just what I do; it is the lens through which I live and interact with the community.
4. Is the artist life lonely? Please share your thoughts and experiences.
The artist's life can certainly involve periods of profound solitude—the intense focus of the studio demands it. But I would not call it lonely. On the contrary, the act of creating is fundamentally an act of deep relationship.
My portraiture is proof of this. When I am tracing lines and repeated strokes, I am mapping an essence and engaging with the subject's entire history. The other stops being an object and becomes a possibility of profound connection. Between the subject and me, bridges and synapses are created—often invisible, yet they fuel life.
While the moments of pure creation are solitary, they are deeply driven by the the vibrant connections I make in the world. The solitude of the studio is therefore less about isolation and more about the sacred silence required to process, translate, and sometimes digest the echo of the human soul. It is a necessary withdrawal to prepare for the next encounter.
5. What are you working on at the moment and are there any upcoming events you would like to talk about?
I am currently dedicated to expanding my series of Botanical Portraits, focusing on the theme of Fertility. Seminessenza literally means : in essence we are seeds.
In nature, true growth and transformation—the act of creating life—require balance: the feminine principle of welcoming and nourishing must unite with the masculine principle of structure and projection. I examine this through the metaphor of the flower, where the union of cells leads to the seed’s fierce search for light and earth. My portraits are exploring this dynamic equilibrium, turning each face into a map of these complementary forces.
Parallel to this visual work, I am immersed in a writing project: a fairy tale that explores the landscape of fear. This narrative complements my visual art by addressing the internal obstacles to transformation, using storytelling to map the inner landscape and provide guidance on how we might navigate and embrace our vulnerabilities.
All details about the show and the book will be shared soon on my instagram account.
