Elena Modorati's sculptures are made from wax, a medium often associated with effigies or funerary art. The burial concept is in fact present in the work Kit-corredo, 2014 where the artist presents wax sculptures in museum-like cases, recalling the way that archaeological objects of antique burial traditions are displayed in their cabinets. Modorati integrates paper, marble and steel in her creative process. Their formal aspect recalls a three dimensional version of Giorgio Morandi's still life paintings. Her sculptures are in fact perfect forms of ornament-like objects that encapsulate mysterious elements. She will sink the text into the wax, imprinting it with her own thoughts and writing: these almost unperceivable traces become an ambiguous space suspended between being present and being absent, and the fragility of this medium further suggests ideas of death and spirituality. Modorati refers to each of her works as Stanza (Room), evoking the idea of a private space where the artist's more intimate thoughts are hidden from the viewer. The manipulation of the material and the elements integrated into her work often present an archive of knowledge in the form of libraries, books or texts. For instance, in La biblioteca di Ur, 2013, the artist displays a library of wax books that refer to the 2006 discovery of 500 raw clay tablets from 2600 BC, that were discovered beneath the Ur Library in the ancient Sumerian capital of Eridu. Time is a recurrent theme in Modorati's works; her creative act is slow and meticulous, physical and meditative. In an existentialist approach, the viewer is asked to explore her sculptures with a receptive attitude, rather than a dogmatic one. Modorati's works are in fact in a constant process of becoming, and thus capable of revealing an enormous range of experiences.