YMACELLI

Simonetta  Vespucci does not belong to this time, yet she does not resist it. Born as an ideal of beauty during the Renaissance, her image was conceived to endure, to be contemplated in silence. In Ymacelli, Simonetta crosses centuries and reappears reconfigured through the language of digital design: fragmented, layered, released from the frame. She is no longer only a muse  she becomes visual code.

Her face adopts the mask of Mazinger Z. Not as concealment, but as translation. The Japanese armor, born from pop culture and twentieth century technological mythology, introduces a new system of communication: direct, graphic, symbolic. The mask protects, transforms, and empowers. It is an identity in transit.

In her hands lives Yma Sumac. Not as a relic, but as an active presence. Yma Sumac was the Peruvian lyric soprano who conquered the world with an impossible voice  a vocal range that seemed to defy the limits of the human body. Her name, from the Quechua Ima Sumaq, means “how beautiful,” “how extraordinary.” It does not describe a face, but a reaction: pure astonishment.

Yma was an archive before she became memory. Recorded, reproduced, and amplified through technology, her voice traveled across continents at a time when the world was beginning to listen through machines. She sang the Andean, the exotic, the theatrical, and the futuristic all at once. Like Simonetta, she was transformed into myth. Like Mazinger Z, she became an icon.

In the vision of Kitsch & Huis, we are always engaged with history and with kitsch not as irony, but as language. We are drawn to what has been exaggerated, reproduced, idolized, or dismissed as “too much.” For us, kitsch is emotional memory: a bridge between high culture and popular culture, between the eternal and the reproducible.

Ymacelli is precisely that crossing point. A conversation between different times, geographies, and modes of communication. Digital design does not attempt to unify them, but to allow their layers to coexist in tension. The classical, the pop, and the ancestral overlap without asking permission.

Here, beauty ceases to be a fixed canon and becomes flow. The image is read, the voice is seen, history is remixed. Ymacelli does not speak of the past as something closed, but as living material that  through kitsch and design  continues to find new ways to sing.

YMACELLI

THE FIRST ECHO

I come from where the voice is born.
I awaken from the earth that remembers.

I breathe ancient air,
I drink water made of time,
I ignite the fire of the name,
I cloak myself in the metal that protects.

What I was still sings.
What I am vibrates.
What I will be is kept.

I belong to no century,
I belong to no place.
I am echo,
I am form,
I am passage.

I repeat so I do not forget.
I repeat so I may transform.
I repeat so I may cross.

Earth holds me.
Water moves me.
Air names me.
Fire lifts me.

Thus I return to the origin.
Thus I become song.
Thus I am Ymacelli.