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Printed Lace (A1)

Using a hydraulic print press, I produce highly detailed prints by inking up my embroidered lace and manipulating the shape on paper.
I found by allowing the lace to fold and overlap, interesting shapes and lines were created which contrasts the delicate lace design and small loose threads, adding 'layers' and depth. The creased text and misshapen motif designs emphasise the notion of forgotten and fragmented memories of my grandparents' experiences over time which I try to capture, freeze-frame and celebrate. I will use this technique to produce prints with shapes of the regions in Italy that I am from for the final degree show.

Digitally Embroidered Lace

Hanging lace on wall. Experimentation with digital embroidery, display and narrative.

Embossed homemade Paper

Paper on wall. Experimentation with embossing techniques, display and narrative.

Lace Print (Naples yellow ink on A3 black card)

Print on wall. Experimentation with print, colour and narrative.

Laser cut and inked Lace (60")

Hanging lace on wall. Experimentation with laser cutter, lace texture and narrative.

Corinna Citro

As a third generation Italian and creative individual, I use visual arts as a method of understanding and celebrating my identity, heritage and sense of belonging.

My current research and studio practice evolve around my Italian heritage and familial migratory experiences through themes of cultural hybridity, memory, migration, craft and the archive. I use archived conversations about the difficult migratory experiences of my grandparent's labour intensive, repetitive daily routines and present this through text and sound within my work. Using my own motif designed from their memories of Italy and family members, I recreate repetitive processes and practice embroidery techniques on lace and use this to print with. The use of lace to represent my grandmother's craft skills and Italian tradition as well as a geographical symbol of my current working location in the Midlands further explores my identity and heritage within my work. The time-consuming process becomes an important element within my work, a time for reflection. As a result, the delicate prints act as a preservation of their migratory experience, this memory as a frozen fragment in time. I have enjoyed experimenting with a diverse range of medium to create narratives which have resulted in a multi-sensory, site-specific installation for the degree show.

My dissertation research highlights key figures who have experienced forms of familial migration including cultural theorist Homi Bhabha and philosopher and feminist theorist Rosi Braidotti. Both of whom challenge notions of thought and reflect on the complexity of our modern society and how one can use conceptual creativity and nomadic consciousness to better understand ourselves. Artists Sonia Boyce, Yinka Shonibare and Lubaina Himid are also influential figures who reference heritage and identity through visual arts and have informed my practise and thought process throughout this year.

In addition to this, my strengths include photography, videography and painting. I hope to continue developing these skillsets and creating commissions. My creative eye and love for arts and culture will hopefully direct me into a career within the arts sector such as arts management.

Final year project

A moment in Lace.


Contribution for 'Mushroom Tree' presented in the Maastricht European Fine Art Fair (TEFAF) and Carpenter Workshop Gallery, Nacho Carbonell 2021.
Co-curated annual summer exhibition for the Upstairs Gallery, Hertfordshire 2018.
Fine Art welfare and diversity committee member, Loughborough 2018-2019.
Exhibited at MTC exhibition 'Making A Mark', Coventry 2019.

Work Experience

One of the most valuable learning opportunities of my university experience so far was completing a 6-month work-based internship as a creative assistant for sculptor and designer Nacho Carbonell in the Netherlands from 2019-2020. From getting hands-on experience within the creative industry to developing professional and personal skills, I was able to work collaboratively and form new bonds with international artists whilst gaining an understanding of gallery and client relationships. Being an integral part of the production process, I learnt how to handle new machinery and work with materials such as bronze to create small and large scale sculptures.

This enriching experience has filled me with optimism and encouraged me to push my creativity further. It has given me insight into the endless possibilities and ever-changing perspective of art and design.

I volunteer at The Upstairs Gallery in Hertfordshire. As a local gallery, I enjoy getting to know more about my local art community and build relationships with creatives. It has been an insightful experience to understand more about the gallery environment. Most notably I co-curated their annual summer exhibition promoting local artists, this included preparing admin such as sorting works and prices, organising and logging information.

I hope to continue volunteering and getting to know more about local art communities.