Elisabetta Caizzi Marini was born in Arezzo on December 13, 1990. In 2011 she attended the Academy of Fine Arts in Florence.  In 2015 he undertook the specialist in art graphics at the Academy of Fine Arts in Bologna. In 2024 she started a master degree in Art Teraphy at the “Nuova Associazione Europea per le Arti Terapie”.

 He currently lives and works in Bologna.

SATEMENT

Born in Arezzo in 1990, Elisabetta Caizzi Marini, known artistically as Beth Caimar, develops an artistic practice that unfolds as a psychic and symbolic traversal of the image. Her works are thresholds: points of passage between the unconscious and consciousness, between matter and archetype, between trauma and the possibility of transformation.

Trained in Painting at the Academy of Fine Arts in Florence and in Printmaking in Bologna, Caimar constructs a deeply syncretic visual language, where monotype prints, painting, sculpture, and installation coexist within a unified ontological narrative. In this process, technique is subordinated to emotion: every gesture, every medium—whether bitumen, gold, clay, or printmaking ink—is part of a language aimed at psychic transmutation.

At the core of her work lies an archetypal and gnoseological reflection, influenced by the analytical psychology of Carl Gustav Jung, the symbolic aesthetics of Gaston Bachelard, and a constant attention to the female artistic voices of the twentieth century such as Louise Bourgeois, Camille Claudel, Maria Lai, and Carol Rama. Yet her work also reveals the influence and admiration for Medardo Rosso, Burri, Turner, and Piero della Francesca.

Memory, understood not as linear recollection but as an archaic echo, becomes a tool of revelation: through her artworks, epiphanies emerge that connect us to a pre-rational time, where the individual dissolves into the collective.

The series Epifania Materna (2017–2020) marks a pivotal point in this research. The large monotype prints that comprise it explore the uterine symbol as both sacred and psychic space—refuge and filter, womb and threshold. Here, the uterus is not only a metaphor for origin, but a membrane through which the trauma of the world penetrates. Traces, incisions, bitumen, and paper transform into archetypal wounds, material testimonies of an original and collective memory.

From 2019 onwards, with the sculptures of the Telesforo series, a sculptural path begins that evolves into the more recent Re Decaduti (2025 – ongoing). The works in this cycle stage the fall of power, the end of the hero, the implosion of identity. The armor-like bodies, broken and reclined, are post-heroic relics, immersed in a suspended time. Often placed in dialogue with broken tapestries or split “sacred skies,” these figures embody an aesthetic of fracture: Byzantine gold cracks, revealing the deep blue of the abyss—a choice also inspired by her life between Arezzo and Emilia-Romagna.

These reclined bodies, in some cases deprived of verticality, reflect an image of humanity that has traversed its own Shadow and that—only in ruin—might glimpse a passage. The fallen king does not command, does not act: he reflects. His very fall is already a ritual act, a sacred gesture that dissolves the ego to open a space for transformation.

The spirituality evoked here is not redemptive but arises from ruin. The fallen king does not act: he reflects. His reclined body is not a symbol of defeat but a ritual act of atonement. Within this context, the Telesforo sculptures represent an intermediate and essential phase: fragments of pictorial matter transformed into totemic presences, silent witnesses of an ancient, ritual, and artisanal knowledge, where gesture becomes the keeper of memory.

Caimar’s entire journey is a symbolic descent, a process of ego dissolution that becomes an access to the sacred. For her, art is psychopoiesis: not merely aesthetic creation, but a transformative operation capable of engraving, awakening, and restoring consciousness. Her work does not merely represent—it evokes, questions, stirs. It does not promise salvation but accompanies us into our inner chambers—Bachelardian spaces inhabited by the repressed, the archetype, and the shadow.