Irene Fenara is a young artist who is interested in different means of expression, including video and photography. She is interested in the study of photography through the limits of image acquisition technology, Polaroid or scanner, for example. Photography has always fascinated her as a sculpture.
In video installations as in photographic practice, hier interest is always centered on the idea of ​​movement in space and time and on the need for orientation that results from it. For that, she uses images bearing the traces of a movement, and reversing the points of view or generating situations of spatial disorientation. She uses disorientation to detach familiarity from what we see, to revisit from a slightly different angle. She questions what is taken for granted. Irene uses a certain visual sensitivity. Vision is a cultural construct constructed and learned more and more rapidly in the circulation and saturation of images of our time. The history of vision is inevitably linked to the optical and visual technologies that graft onto our eyes and transform their ability to see and thus to think.
Irene Fenara’s artistic work explores the gesture behind every aspect of photography. She observes, investigates and interprets. In her work presented to art gallery Adiacenze  » Se il cielo fugge », Irene that changes the perception of space. She took possession of the space one after the other, one inside the other. She modified the real space by applying large photos then she made shots in the modified space to project them on the back wall. The video is a long zoom that traverses the entire space. The opposite and inverted view confuses the coordinates, the point of view is inverted and questions the spatial orientation points and the reference points.
In her work  » Ho preso le distanze, » Irene presents a work consisting of a set of side-by-side, four-leveled polaroids as a Cartesian plane in which the horizontal pattern represents space, then distances, positioning the photographs from far to nearest. It is an emotional work that is based on science. The project was born and developed from Edward T. Hall’s anthropological studies on the proxemics, which analyzes the distances mankind gives in communication and in its relations with others in society, and expresses them. She places under the photographic lens the reading of everyday experiences in a new light. Indeed, she tries to decipher something as abstract as love, affections and friendships thanks to a very precise criterion such as the measurement of space. She became a guinea pig by instinctively photographing friends, relatives and acquaintances, and then, only after taking the picture, taking measurements with a meter. She recorded all distances, dates and times. It is a project closely related to a precise temporality. Indeed, relationships change over time. The coloring of the different photographs also shows the succession of different seasons. This installation allows a true multi-level reading of the different aspects that determine the work.
Irene Fenara continues her research on the aesthetics of supervision and control, presenting a selection of images of surveillance cameras saved in a continuous stream that removes them every 24 hours. The images produced are often fuzzy, spoiled by a series of errors.
She appropriates the tools of the contemporary world that guide and determine the way we see, even using images from surveillance cameras. An instrument is never a simple technology. This work is disturbing because it presents a world apparently without human being where she seems the only inhabitant. She sets herself on the scene absent from human life. She is the only witness. It’s the resistance. She fragments the world by deconstructing visual and spatial perception. « Accepting to be under constant surveillance shows that a new conception of identity is emerging. » (Will Self)