From her debut as a ceramic artist in an international context, thus only partially linked to the Italian art debate, Carlini particularly draws attention to the atavistic nature of clay as a material, and its natural place within the architectural sphere in a dialogue with other materials. A tireless, almost obsessive worker and a curious and committed experimenter, Carlini has adopted the maxim of Annibale Carracci, who refused to take part in an intellectual conversation about art, saying: ‘We painters must talk with our hands’, in other words: keep making art and leave the talking to others. Fondazione Maria Cristina Carlini now presents the artist’s work in a context where it can be fully understood, in premises conveniently close to the workshop where she conceives and creates her work. All the documents related to her work have been expertly conserved in this new location and are available to a public of academics, enthusiasts and the merely curious. Beside it is a more general bibliography, focused on the culture of her era and her place and history within it. This digital archive, which documents in detail Carlini’s vast body of sculpture, is the result of a scrupulous task of identifying, reconstructing and contextualising every phase of her production. The programme of Fondazione Maria Cristina Carlini includes the organisation of events, such as exhibitions, conferences, seminars and publications, with the aim of broadening and deepening an awareness of the entire series of works that have defined the great sculptor’s artistic journey.