Torre al Cerro is a small artist residency located on an hill-top property near Monteverdi Marittimo in Tuscany. It was founded by Filippo Formenti in 2021 to express his passion for contemporary art and open his family property to young artists who need a creative escape. TaC offers two residencies per year – both in early summer. Every year two artists will be selected for each of the two terms, Each typically lasting one month. The idea is that the artists who are invited to participate will not only respond to the lush natural setting of TaC and the rich art historical significance of the broader area, but will also get inspired by their respective artistic practices.

Our mission at TaC is to provide young and international artists with an opportunity to slow down and centre their focus on their practice without the stress of deadlines and life in a big city. We invite artists to immerse themselves in the forest surrounding our property and take in the breathtaking view.

Introducing our 2024 guests

Jeanne Gaigher

Jeanne Gaigher is a South African artist interested in the fluidity of subject matter, and how, through the act of painting, she can expand an object’s meaning. She explores the expressive potential of materials and their textures, taking her cue from a reflection on the traditional format of the painting and its canvas support. Her dreamlike, surreal narrations in which the female body takes center stage are created using fabric, gauze, painting, and drawing, emphasizing the tensions between the body and its context. Despite drawing from a broad reservoir of references, foreign and local, Gaigher consistently bases her thinking around place relative to her own presence in it. Rather than actual places, the settings portrayed are more a reflection of the subconscious dimension of ‘imaginary rooms.’ Never settling on figuration or abstraction, the artist moves nimbly between the two, focusing on the hybrid areas.

Thea Yabut

Thea Yabut is a visual artist currently based in Montreal, CA. Her sculptural use of paper pulp has evolved from an experimental drawing practice that continues to draw upon her own ancestry to examine the ways in which identity is shaped in Chinese and Filipina diasporic communities. Channeling the subconscious through a visceral material language, her practice uses abjection and ornament to consider the complex convergence of race and gender.