The arch is an architectural element that connects two spaces, moments, or states of being, evoking a sense of transition and transformation, associated with support and endurance. Its use in public architecture recalls political and identity-based celebrations, while in private buildings it conveys wealth and social prestige. Like a gate the arch is simultaneously an entrance and an exit, a point of conjunction and meeting (pitch point) between two elements that are near yet never quite coincide.
Pitch Point explores liminal spaces, thresholds, and points of contact within the urban architecture of Lustra, highlighting the relationship between collective structures and individual experience. Once the seat of the Barony of Cilento and later a feudal holding, Lustra—with its prominent castle—has retained elements of its hierarchical structure, now serving as a backdrop for luxury weddings and celebrations.
The artworks Suitors 1, 2, and 3 echo the curve of three arches rising from the existing architecture of the Rocca Cilento hamlet, extending towards the surrounding landscape and buildings. Like bachelor machines (machines célibataires), they remain suspended—aimed at an impossible union between two parts: a forever-unreachable pitch point. Their shapes partly recall the accidental fissures found on the stone surfaces of the Rocca.
The Suitors embody fragmentary, desiring bodies that reject normative definitions, reduced to symbolic and poetic purpose. In a similar spirit, Again, a gain, Horizon is a gate installed within a disused football field—leading nowhere and separating nothing. Formed from intersecting arches, it evokes the figure of the Ouroboros or the Möbius strip—symbols of infinity.
By playing with symbols—such as those of union and eternity, central to romantic and celebratory narratives—Tild Greene’s work at the threshold between desire and impossibility, form and function. Revealing fragmented identities and non-conforming affective social spaces, where architecture and form no longer organise power but instead refract and fracture it, Greene opens us to the possibilities of transformation.
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Artworks:
01. Tild Greene, Suitor 1, 2025, silicone and aluminium, 85 x 210 x 15 cm approx.
Via del Popolo, Lower Square, Rocca Cilento, Lustra (SA)
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02. Tild Greene, Suitor 2, 2025, silicone and aluminium, 40 x 145 x 25 cm approx.
Via del Popolo, Lower Square, Rocca Cilento, Lustra (SA)
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03. Tild Greene, Suitor 3, 2025, silicone and aluminium, 45 x 145 x 25 cm approx.
Via del Popolo, Lower Square, Rocca Cilento, Lustra (SA)
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04. Tild Greene, Again, a gain, Horizon, 2025, steel and aluminium, 45 x 145 x 25 cm approx.
Via Mercato, Football Pitch, Rocca Cilento, Lustra (SA)
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All artworks are outdoors and are accessible day or night. The itinerary unfolds as a 20-minute walk: from the three sculptures near the main square to the large installation in the football pitch right outside the village, in Via Mercato. Signs placed along the route guide visitors throughout the tour.
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Discover the map hereㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤㅤ
A FOOT MEETS A BALL AND KICKS IT FORWARD. A GATE IS OPENED. A MEETING OF ONE FORM WITH ANOTHER TO INCITE MOVEMENT. IT IS A PROSPECT. THERE IS AN OSCILLATING POSITION THAT IS ALWAYS ALMOST TOUCHING. SPACE IS FILLED AND THEN EMPTIED, AND THE ENDURING LAND HOLDS THESE SHIFTS OF PASSING AND PURPOSE.
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Tild Greene (UK, 1994) lives and works in Amsterdam. They completed a BA at Camberwell College of Art – University of the Arts London, in 2017, and participated in the residency program at De Ateliers, Amsterdam (2020–2022). Their practice explores what defines resilience, capability, and achievement, observing how these qualities are embodied in both objects and bodies. The potential for activation—the transition from latent form to lived experience—is a driving force in their work.
Greene brings together prefabricated objects, industrial methods, and organic materials. Sourcing organic elements that have been or could be consumed, Greene humanizes their sculptures, presenting them as a second skin—a threshold between the implied and the tangible body. This focus stems from ongoing research into consumption, demand, and commodification, physically expressed through constraints, tensions, and various states of permanence.
They have participated in group exhibitions at Punt WG, Amsterdam (NL, 2022); Willie Creative Space, Amsterdam (NL, 2022); De Vleeshal, Middelburg (NL, 2023); Loods6, Amsterdam (NL, 2023); Projectspace 38.40, Amsterdam (NL, 2023); Galeria Stereo, Warsaw (PL, 2023); Moduł Obsługi Spraw, Warsaw (PL, 2025); and Sharp Projects, Copenhagen (DK, 2022).
Recent solo exhibitions include Galeria Fonti, Naples (IT, 2024), and Galeria Stereo, Warsaw (PL, 2023). Greene has also exhibited at art fairs such as Liste Art Fair, Basel (CH, 2023) and Arte Fiera, Bologna (IT, 2025).
Findings of masonry structures and ceramic fragments dating back to the 4th–3rd centuries B.C. attest to Lustra’s ancient origins. Rocca Cilento, now a hamlet of the municipality, played a key role in local history: its castle, once the seat of the Baronia del Cilento, served as the political and military center of the area.During the War of the Vespers (1282–1302), fought between the Angevins and the Aragonese, the castle of Rocca Cilento held strategic importance in the struggle for control over Sicily and southern Italy.Points of interest include the Convent of San Francesco, founded by Saint Bernardino of Siena in 1427 and decorated with frescoes about his life; the Church of Santa Maria delle Grazie, documented since 1583; and the Church of Santa Maria Vetere—now part of the cemetery complex—which dates back to the 14th century and is tied to a Marian legend.Of particular value is the bell tower of Santa Maria Vetere, a rare example of sacred architecture with Arab-Sicilian influences, dating from the 12th–13th century..
Giulia Pollicita (Palermo, 1996) works as a curator at the Fondazione Morra Greco in Naples and is currently undertaking PhD research at the University of the Arts London (UAL). She works and lives in Naples. In 2024 and 2022, she served as assistant curator to Pierre Bal-Blanc for a show by Cezary Bodzianowski and to Salvatore Lacagnina for an exhibition by Jimmie Durham. She curated exhibitions in galleries such as Des Bains in London and Richard Saltoun in Rome. She writes for art magazines such as Flash Art and NERO. In 2025, she will curate the first Italian institutional solo show by Marina Xenofontos.For Una Boccata d'Arte in Sicily, she curated the project by Isaac Chong Wai in Castiglione di Sicilia (2022), and in Campania the projects by Serena Vestrucci in Cetara (2023) and Andrea Martinucci in Letino (2024).