Hypersea

Hypersea is a speculative exploration of the porous boundaries between humans, animals and the natural environment, starting from the transformations imposed on my body by a rare degenerative disease.

The project intertwines the cyborg body and movement with the numerous forms of life in the ocean, examples of regeneration, community life, care and survival strategies. Through a reflection on the Edge as a Space of Resistance - understood, in Bell Hooks’ vision, as a place capable of offering us a radical perspective from which to look, create, imagine alternatives and new worlds - this work investigates the infinite space of creation that can arise from feeling trapped in one’s own body. The evolution of marine mammals becomes a key to understanding the similarities between humans and the animal world, in a journey that extends from anatomy to prosthetics as an extension of the body, from anthropomorphised landscapes to steel structures that simulate tentacles, to the creation of a hybrid being, half woman and half animal. Water becomes a metaphor through which to reconfigure care, interdependence and identity. Hypersea shapes the body not as a place of limitation, but as a generative terrain for rethinking corporeality, presence and our place within a more than human ecology. The project includes a kinetic aquatic installation and a transparent resin sculpture, in dialogue with photographs and video performances created during an artistic residency at the Italian Cultural Institute in Stockholm.

Video performances can be viewed here:

1. https://www.youtube.com/watch?v=Srv7rzj2g7E&t=7s

2. https://www.youtube.com/watch?v=aF-72-Hs4HA

Kinetic installation here: https://youtube.com/shorts/xWsWRyhygVU?si=PzOuItIZR9G-PUcR

Project commissioned and promoted by the Italian Cultural Institute in Stockholm in collaboration with the municipality of Reggio Emilia and with the contribution of the Directorate-General for Contemporary Creativity of the Italian Ministry of Culture.

© Claudia Amatruda - Image from the Hypersea photography project
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Hypersea is a concept introduced by Mark and Dianna McMenamin in 1993, describing Earth as an extension of the ocean, where life carried water onto land. Astrida Neimanis later revisited this idea in Bodies of Water, framing humans as dynamic extensions of the ocean and reshaping our relations with nonhumans and nature. "Self-portrait sitting on the ground"_Hypersea, 2024

© Claudia Amatruda - The sperm whale's mouth looks like a chair. "Whale Chair"_Hypersea, 2024
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The sperm whale's mouth looks like a chair. "Whale Chair"_Hypersea, 2024

© Claudia Amatruda - "Wheel Chair"_Hypersea, 2024
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"Wheel Chair"_Hypersea, 2024

© Claudia Amatruda - Image from the Hypersea photography project
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Recent scientific discoveries reveal that one of the earliest ancestors of whales was an animal with a body somewhere between a fox and a deer, called Indohyus, which lived in water to hide from predators, despite being a land mammal. Through evolution, Indohyus underwent numerous anatomical changes until it became the whales we know today. "The whales' ancestor"_Hypersea, 2024

© Claudia Amatruda - Image from the Hypersea photography project
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Starfish arms, or rays, are extensions of the central disk essential for movement and feeding through thousands of tube feet. They also regenerate when lost, making them regenerative extensions of the body. "Starfish Triptych"_Hypersea, 2024

© Claudia Amatruda - Scan from the book “Whales. Otto Friedrich Müller, Zoologica Danica, 1779;”. Archive photograph. Hypersea, 2024
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Scan from the book “Whales. Otto Friedrich Müller, Zoologica Danica, 1779;”. Archive photograph. Hypersea, 2024

© Claudia Amatruda - Image from the Hypersea photography project
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This installation features a water-filled tank on a curved metal structure, its motor causing the water to oscillate without spilling. It becomes a portrait of the human-mechanical body, where water’s adaptability reflects that of the disabled body within societal constraints. "Cyborg Self-Portrait n.1"_Hypersea 2025, 150x70x35 cm, plexiglass, water, steel, iron, plastic, oscillating motor.

© Claudia Amatruda - Image from the Hypersea photography project
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Octopus tentacles, like starfish, are also capable of regenerating if damaged, so I consider these to be regenerative extensions as well. "Preserved Extensions"_Hypersea, 2024

© Claudia Amatruda - Image from the Hypersea photography project
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Dolphins’ dorsal fins don't derive from pre-existing bone structures, but have evolved as a practical response to the need for stability in water. This process of adaptation, which took place over generations, represents a form of bodily learning accepting instability as a permanent condition. "Dorsal fin characteristics"_Hypersea, 2024

© Claudia Amatruda - Image from the Hypersea photography project
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Screenshot from a video performance staging a medical examination as a theatrical play, guided by an off-screen voice that tests the body. The gaze shifts from medical to the audience, culminating in a scene where patient and doctor’s thoughts merge. The work reflects on transformation, risk, limits, and method. "Operation Theatre (OT) n.2"_Hypersea, 2024. Digital Video FHD 1920x1080 6’35”.

© Claudia Amatruda - Image from the Hypersea photography project
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This sculpture in transparent epoxy resin, which I made from a cast of my back, is a hybrid between the female body and marine mammals. The transparent form suggests an invisible being, where the dorsal fin becomes an extension of my body, for navigating the instability of the Earth. "New Dorsal Fin", 2025. 50x40x37 cm, plaster, clay, silicone rubber, epoxy resin, aluminium table.

© Claudia Amatruda - Image from the Hypersea photography project
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Scan from "Tableau des Animaux et des Végétaux Éxistans Avant le Deluge", Aristide-Michel Perrot, 1844. Archive photograph. Hypersea, 2024

© Claudia Amatruda - First attempt to be an octopus, considering fingers as extensions of the body. "Attempt n.1"_Hypersea, 2024
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First attempt to be an octopus, considering fingers as extensions of the body. "Attempt n.1"_Hypersea, 2024

© Claudia Amatruda - I envision that in the future, our human extensions will also become fossils. "Fossil crutch"_Hypersea, 2024
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I envision that in the future, our human extensions will also become fossils. "Fossil crutch"_Hypersea, 2024

© Claudia Amatruda - Image from the Hypersea photography project
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The earliest photosynthetic organisms evolved in water without roots, relying on their environment for nutrients. Roots first appeared in aquatic plants for anchoring, then adapted on land to support growth and absorb water and nutrients from soil. "Hands like roots"_Hypersea, 2024

© Claudia Amatruda - Image from the Hypersea photography project
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Screenshot from a video performance in which I repeatedly push my crutch to the ground and lift it back up, a repeated gesture that treats the aid as an extension of the body, likened to the regenerative appendages of the marine animals depicted. "Operation Theatre (OT) n.1"_Hypersea, 2024. Digital Video FHD 1920x1080 2’40”

© Claudia Amatruda - Image from the Hypersea photography project
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The fossil of an ammonite, an extinct marine mollusk that lived for over 300 million years before disappearing. Its spiral shell, once divided into chambers for buoyancy, reveals intricate patterns that speak of both biological function and aesthetic beauty. As a symbol of transformation, the ammonite embodies the evolutionary history of life in the oceans. "Ammonite"_Hypersea, 2024

© Claudia Amatruda - Scan from the book "Fossils, 1693; John Ray". Archive photograph. Hypersea, 2024
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Scan from the book "Fossils, 1693; John Ray". Archive photograph. Hypersea, 2024

© Claudia Amatruda - "Self Portrait trying to reach the water", Hypersea, 2024
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"Self Portrait trying to reach the water", Hypersea, 2024