Cinema, but more generally the languages of the 20th century, occupy a central position, almost of paradigmatic redefinition in Vanessa Beecroft's work. Linked in particular to German Expressionism or to directors such as Godard or Rossellini, Beecroft transfers on a personal perceptive level the idea that moves from the mutation that this language imprints in our mind. The performances become "other than themselves" elements with which to represent the distances between those who see the actions and the actions itself. Human bodies, another great interest of the Italian-English artist, represent a reflecting mirror and yet a possible to penetrate.
It is no coincidence that all the girls who operate the performances (and conversely the photographic works inspired by these actions) have something of the same artist: a similarity, albeit vague, which is, at the same time, self and, indeed, something else. Beecroft models them almost through their own epidermis, body surface and physical limit of the work of art. The women seem, then, as a figuration of nature and, at the same time, as its abstraction living at the limits of human ritual behaviour. In the same way, his painting is linked to the perception extended to the threshold of what the human mind is able to introject inside. A complex personality but also endowed with extreme classicism in his references, all reinterpreted with the disorienting language of contemporaneity.