Between 2017 and 2020, Pešta created the powerful series of assemblages titled Forgotten Innocence, a poignant exploration of the roles women play in broader societal, religious, and political contexts, as well as within the family unit. This series, now on display at Palazzo Mora in Venice, offers a compelling narrative on the hidden injustices that women endure, blending symbolic imagery with profound emotional depth.

In this interview, Pešta discusses the inspirations behind Forgotten Innocence, the symbolism of women's hair in his work, and the deep messages conveyed through his evocative assemblages and video art.

What inspired you to create the series Forgotten Innocence, and could you elaborate on the symbolism of women’s hair in your assemblages?

I was inspired by the plight of women, both in a broader religious or political context and within families. In Forgotten Innocence, I explore the hidden injustices that fate has dealt to many women, which they eventually had to accept in silence, often resigning themselves to their true desires, ambitions, and dreams.

Women’s hair is one of the primary attributes of femininity. Hairstyles not only adorn and accentuate their individuality but often symbolise their social belonging. This can be liberating and appealing to them, but conversely, it can also be restrictive, depending on circumstances, customs, and constraints.

What significance do the different hair colours hold within the series, and what message are you conveying through the powerful visual elements of the “amputated” plaits and bandaged “wounds”?

The hair colours highlight racial diversity, representing characteristics that are genetically inherited. The "amputation" is a symbolic representation of the moment when girlhood ends, and adulthood begins. Unfortunately, these moments are not always freely chosen, and some girls cannot decide for themselves when they become adult women when they lose their innocence and enter adulthood. The bandaged wounds are like a prayer for all women’s destinies.

Three phrases are written in "blood" beneath the plaited objects. What emotions and experiences are you hoping to highlight with these messages?

“My blood was wild”, “My blood was free”, and “My blood was hot” are the messages written in the colour of blood on the white fabric of a sheet. They are messages from women who symbolically recall their nature, their character when they were young, their desires, their core beliefs, and their wishes. Many women must relinquish these attributes for various reasons, whether political, religious or because they become victims of violence and manipulation within their families. Often, fate is truly cruel to women, leaving them with no help and no solutions, resulting in resignation and bitter tears.

Can you describe the process of creating the delicate assemblages and the video art featuring the freshly washed chemise?

I filmed the video of the women’s shirts drying in Venice last year. I happened to notice a freshly washed shirt moving freely in the hot sun, and it moved me to tears. In my mind, I wondered how much tenderness, love, and mystery this piece of fabric holds—how much longing, but also sadness, is contained within it. Every time I see a woman hanging up her newly washed clothes, it is as if she has performed a mental cleansing, and her day is starting anew: clean, spotless, innocent, full of hope.

What are your future plans for the Forgotten Innocence series or other projects that explore similar themes?

The Forgotten Innocence project is a central theme in my work, and I expect to continue developing it. I have always been interested in the fate of women, whether as girls, wives, or mothers, across all cultures and political systems. I admire their strength, how much energy they are willing to sacrifice for their loved ones, and their determination to preserve life, even in the most challenging circumstances.

Why is participating in Personal Structures 2024 in Venice important to you?

This is my fifth time participating in the Personal Structures exhibition, and I consider the ECC Italy team my other Venetian family. I always feel at home at Palazzo Mora, enjoying the collaborative preparations and the final exhibition. It is always a great adventure, full of surprises. It's become a tradition I eagerly anticipate every two years!