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This theme, exhibited in several European countries, is part of the collection on display at the Hong Art Museum in Chongqing, China, from November 2023 to March 2024.
The cycle was born during a journey I took through Central Africa, just outside Nairobi. There, among dirt roads and scattered shacks on the outskirts, life unfolded: silent lines of men and women walking toward the markets, under a relentless sun.
Groups of barefoot children, scarcely clothed but full of voice and joy, ran through the dust, leaving behind trails of light laughter.
And it was among them that she appeared — like a vision: a barefoot woman, barely dressed, with a large pot balanced on her head and a generous belly, round like a promise. She walked with pride, her gaze steady and fixed on her destination, with the silent grace of someone who carries within herself the power of life.
In her passing, I felt an archaic power — the ancient beauty of a body becoming symbol, containing time, gesture, the future. The curves of her figure blended with the shape of the pot, as a natural extension of her being.
In that direct gaze, which seemed to pierce through the infinite, I recognized the very essence of waiting: not inaction, but a living tension — present, meaningful, full.
And so, as sometimes happens, from a single encounter came images, canvases, visions: women in waiting — not just waiting for someone or something, but for life itself to fulfill its course, slowly, amid the dust of the world and the light of origins.

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Cardamone Alessandro