PENELOPE CORINALDESI
Director, Researcher,
Image-maker and Editor
email: penelopecorinaldesi@hotmail.com
Instagram: @penelope.corinaldesi
I am a London-based visual artist and filmmaker working between documentary, experimental cinema, and research-led practice. My work explores how personal and shared histories surface in urban and domestic spaces. I approach events as existing in an aesthetic realm, using filmmaking, the screen, and other media not only as vessels of transmission but as tools for questioning violence, intergenerational trauma, and the politics of space. Through investigative reconstructions, mixed documentary strategies, and multimedia layering, I attempt to expand what visual media can do.
I studied Social Anthropology (BSc) and City Design (MSc) at the London School of Economics and Political Science, and hold an MA in Performance: Screen from Central Saint Martins (UAL). This academic grounding shapes my approach to film and visual research, allowing me to move fluidly between ethnographic observation, theory, and practice - without ever fully leaving one behind.
CV
IT TAKES TWO INSTALLATION 2025
IT TAKES TWO TO MAKE AN ACCIDENT AND THREE SCREENS TO FAIL TO REPRESENT IT
— 2026
— THREE-CHANNEL VIDEO INSTALLATION
— 05:55 (LOOPS)
— THREE INDEPENDENTLY LOOPING CHANNELS
— DIRECTOR + PRODUCER + EDITOR: PENELOPE CORINALDESI
— CINEMATOGRAPHER + SCRIPT DEVELOPMENT: BRANDON ST CATHERINE
PERFORMER
— AUGUSTE BARTNINKAITE
IMAGE + SOUND
— DIGITAL VIDEO
— ARCHIVAL CARTOONS
— SPECULATIVE REENACTMENTS
— DOCUMENTARY FOOTAGE
— FIELD RECORDINGSDESCRIPTION
It takes two to make an accident and three screens to fail to represent it touches on the difficulty and absences present in the representation of traumatic events. This specific piece focuses on an event which happened in my childhood, when my mother suffered a home accident within the larger context of domestic violence. The piece struggles with how we can verbalise, and visualise violence without furthering its effects. Each channel anchors one of these desires: my mothers’ body and her scars, my own words as a mode of centering my own perspective, as an attempt not to let my own mothers’ trauma become mine, instead positioning myself as a daughter, and as the witness to the event, and then the third: the collapsing of reenactments of the night, each offering an alternative ending and the use of cartoons I used to watch as a child as fillers for the gaps which cannot be attested for. At the end, this is a visual letter against certain ideas of love and relationships and where those can take people, to the point of hurt.