Nr. 119

Nadia Kuprina's Panem Quotidianum series takes the form of an archival and symbolic reactivation. A Piedmontese accounting ledger (1918–1930), containing customer names and purchases, becomes a conceptual support and matrix. The page number determines the title of the work. On this documentary structure, the artist hand-prints plates and cutlery in linocut, painting the plate in sepia ink with decorative references to Hellenic ceramics. The work constructs a dialogue between ancient and modern, between economy and rituality, transforming the shared meal into a narrative and anthropological device.
No. 119 PANEM QUOTIDIANUM. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
No. 119 PANEM QUOTIDIANUM. Back side. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
No. 119 PANEM QUOTIDIANUM. Back side. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
No. 119 PANEM QUOTIDIANUM. Back side, detail. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
No. 119 PANEM QUOTIDIANUM. Back side, detail. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
In Panem Quotidianum, Nadia Kuprina reflects on the tradition of decorating plates as a form of cultural memory. The plate, painted in sepia ink and inspired by Hellenic ceramics, is not simply a domestic object: it is a narrative surface. Hand-printed in linocut on an accounting ledger from 1918–1930, it dialogues with names and traces of past lives. The work connects the ancient and the modern, emphasising how decorated ceramics preserve stories, identities and rituals of sharing.
No. 119 PANEM QUOTIDIANUM. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
Nadia Kuprina's Panem Quotidianum series takes the form of an archival and symbolic reactivation. A Piedmontese accounting ledger (1918–1930), containing customer names and purchases, becomes a conceptual support and matrix. The page number determines the title of the work. On this documentary structure, the artist hand-prints plates and cutlery in linocut, painting the plate in sepia ink with decorative references to Hellenic ceramics. The work constructs a dialogue between ancient and modern, between economy and rituality, transforming the shared meal into a narrative and anthropological device.
No. 119 PANEM QUOTIDIANUM. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
In Panem Quotidianum, Nadia Kuprina transforms an accounting ledger from 1918–1930 into a work that combines memory and contemporary gesture. Each page — with a customer's name and purchases — becomes a unique piece, identified by its original number. The plates and cutlery are hand-printed in linocut; the plate, painted in sepia ink, recalls the decorations of ancient Greece. The result is a dialogue between ancient and modern, where the tradition of plate decoration meets reflection on the shared meal as a story of life.
No. 119 PANEM QUOTIDIANUM. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
Nadia Kuprina's Panem Quotidianum series intertwines Italian memories and Greek influences. On pages from a Piedmontese register from the early 20th century, the artist hand-prints plates and cutlery using linoleography. The plate, painted in sepia, is inspired by the decorative motifs of ancient Greek ceramics, evoking circular figures and narratives. As in Hellenic vases, the plate becomes a narrative surface: not just an object of use, but a symbolic space where the act of eating is transformed into history and ritual.
No. 119 PANEM QUOTIDIANUM. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
In Panem Quotidianum, Nadia Kuprina reflects on the tradition of decorating plates as a form of cultural memory. The plate, painted in sepia ink and inspired by Hellenic ceramics, is not simply a domestic object: it is a narrative surface. Hand-printed in linocut on an accounting ledger from 1918–1930, it dialogues with names and traces of past lives. The work connects the ancient and the modern, emphasising how decorated ceramics preserve stories, identities and rituals of sharing.
No. 119 PANEM QUOTIDIANUM. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.
Nadia Kuprina's Panem Quotidianum series takes the form of an archival and symbolic reactivation. A Piedmontese accounting ledger (1918–1930), containing customer names and purchases, becomes a conceptual support and matrix. The page number determines the title of the work. On this documentary structure, the artist hand-prints plates and cutlery in linocut, painting the plate in sepia ink with decorative references to Hellenic ceramics. The work constructs a dialogue between ancient and modern, between economy and rituality, transforming the shared meal into a narrative and anthropological device.
No. 119 PANEM QUOTIDIANUM. 29.5 cm x 43 cm Hand-printed linocut on a page from a 1920s winery register. Hellenic inspiration.

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