Daniela Frongia Jana’S is a textile artist who creates powerful and intimate works of art using yarn that she crafts herself. She grows her own cotton, shears her own sheep, and trims her own hair, all for the purpose of sewing these materials into canvas. This slow process of transforming raw materials into artistic media is the basis of her art.

Like the earth, her works are warm and life-giving. No frills, just pure heart and soul.

Until April 16th, we will be offering original works of art by Jana’S for sale on our site.

Digital exhibition curated by Sarah Spagnuolo

Daniela Frongia Jana'S

The earth is more noble than the world we have built on it.

John Boynton Priestley

Daniela Frongia Jana’S was born in 1981 in San Gavino Monreale. She began her training at the Carlo Contini National Institute of Art in Oristano and continued her education at the Academy of Fine Arts in Florence.

She participated in the 5th and 6th editions of Networking, a project promoting the contemporary art of Tuscany, during which she was featured alongside international personalities such as Robert Pettena, John Duncan, Melissa Pasut, and Cesare Pietroiusti. During this period, Jana’S embraced different expressive modes of artistic production, including installation, performance, video, photography, and painting.

Back in Sardinia, her interest in the plastic arts gradually increases, and she began working with materials related to traditional craftsmanship, notably textiles. Textures and threads interlace in her compositions to reveal sutures, letters, and borders. Her most recent production is characterized by an intimate approach towards nature and matter; earth, fiber, wood, and pigments create forms that evoke a dialogue between her own inner universe and the world at large. Jana’S is present at every stage of production. The act of sewing, collecting, weaving, and embroidering her work all gesture to her artistic dialogue.



November 24, 2017 to March 4, 2018 Collective

The top biennial selection exhibit Paratissima 2016 | 2017

MAUTO – National Automobile Museum Corso Unità d’Italia 40, Turin


November 1-5, 2017 Collective Area International Paratissima 13

Former La Marmora Barracks, Turin

* works presented in competition, winner of the “Best Award”


November 1-5, 2017

Collective organized by Annachiara De Maio Supertition

Paratissima 13

Former La Marmora Barracks, Turin


October 29, 2017

Draft of exposure / unauthorized occupation of an advertising space, by Guerrilla Spam.

Torino Esposizioni, crossing Corso Massimo d’Azeglio and Corso Raffaello.


Agora del Contemporaneo – Piazza Aperta From October 10-15, 2017

Collective organized by Stefania Rinaldi

Cut – Temporary Urban Circuit

Campolmi room

Textile Museum, Prato

DIOSA. Portrait of a muse

From September 16th to October 15th, 2017 Collective exhibition organized by Anna Rita Punzo Casa Museo “Giudice Ladu” – Sarule

Paratissima Cagliari for Smart Cityness

September 16-17, 2017

Collective of the award-winning artists, and some selected, of the latest edition. Jewish Ghetto cultural center


Smart Cityness

September 16 -17, 2017

Fourth edition of the Festival promoted by Urban Center Cagliari Collective by Daniele Gregorini

Jewish Ghetto cultural center



August 28 to September 14, 2017

Workshop – artist studio shared by Daniele Gregorini, promoted by Urban Center Cagliari

Viale Elmas 33


Resilience Festival

August 21 to September 2, 2017

Artist residence, subject to selection for the Street Art section, Performance, Video Art, Installation.

Curated by Propositivo.


Paratissima Cagliari #impression July 27 – 30, 2017


* work presented in competition, winner of the Paratissima 2017 Lazzaretto Prize in Cagliari

Officine Permanenti 2017 #passages

July 20-21, 2017

Performance and live painting by Urban Center Cagliari Civic Theater of Castello


InstallationArt With DANIELA FRONGIA “JANA’S”

May 22-28, 2017

Street Art public work promoted by the Skizzo Cultural Association. “Pass”

Via Trento

09037 San Gavino Monreale, VS

Studio Visit

May 6-7, 2017

Artist studio open to the public. Open Monuments San Gavino Monreale Via Ettore Majorana, 13

09037 San Gavino Monreale, VS

Frame trees

April 26, 2017


Opera site specific weaving Sa Spendula Falls 09039 Villacidro, VS

The woven bridge

From April 16-19, 2017


Opera site specific of street art and weaving Location Funt’e Canna

09037 San Gavino Monreale, VS

33 × 366 – Daniela Frongia hosts Gramsci in San Gavino. March 26, 2017

Event organized by Giuseppe Manias and Biblioteca Gramsciana. “Gramsci and education” report by Laura Stochino. Artist’s Studio-Lab

Via Ettore Majorana, 13

09037 San Gavino Monreale, VS

Collective site specific event.

Promoted by the Boghes and La Valle dei Menhir associations. Villa Sant’Antonio, OR


March 12 to April 16, 2017

Staff, curated by Anna Rita Punzo.

MURATS – Unique Regional Museum of Sardinian Textile Art




December 17-27, 2016

February 2017

Staff, curated by Anna Rita Punzo. Giovanni Lilliu Center

Viale Su Nuraxi – Barumini, VS

The wheel of time

June 18 to August 20, 2016


Local Ex Montegranatico

Villa Sant’Antonio, OR

Collective site specific event.

Promoted by the Boghes and La Valle dei Menhir associations. Villa Sant’Antonio, OR



On the blackboard artists

November 27, 2015

Personal extemporaneous. Antoni Cuccu Municipal Library Via San Sebastiano, 4

Villa Verde, OR

Aesthetic dialogues on nature and its beauty

From November 14-22, 2015. Collective

La Bicocca, Via V. Emanuele III, 31 Collinas, VS

Busachi and its colors. Painting festival Filippo Figari October 17, 2015

Bind to nature, archeology, art, the territory.

Weave textures that absorb wind, sound, harmony.

Become something else.

Collective extemporaneous.

At the monumental architectural complex Su Cullegiu. Busachi, OR

Flexibility, flows and resistance. Linen, reeds, wind and sounds. September 4-6, 2015

Collective organized by Giuseppe Manias and Paolo Sirena.

Casa Daprà, Località Masongiu, OR

The Streets of the Stone

August 21, 2015

Collective on the streets of Masullas. Masullas, OR


June 21, 2015

Collective site specific event.

Walk ArT (ch) and summer solstice.

Event of Contemporary Art promoted by the Boghes Necropolis Ipogeica loc. Jenn’e Xabisi (Genna Salixi), Villa Sant’Antonio, OR

Ierogamos on the trail of El act IV

March 22, 2015

Collective site specific event. Promoted by the Boghes and La Valle dei Menhir associations.

Villa Sant’Antonio, OR

I look and I do not see …

January 6, 2015

Collective site specific event.

Pro Guardians of MONTI PRAMA; promoted by the Boghes Association and by Nurnet – La Rete Dei Nuraghi.

Monti Prama, OR



On the trail of El act III

December 21, 2014

Collective site specific event.

Fullness and emptiness; promoted by the Boghes Associations and La Valle dei Menhir. Villa Sant’Antonio, OR

in the interior and in the contemporary-minded area

December 21, 2013 – January 6, 2014


Under the patronage of the Municipality of San Gavino Monreale and the collaboration of the Cultural Station Association of Medio Campidano, VS

The Interview

We named this Exhibition “Embroidery Between Earth and Soul” because we know of your association with the earth. Can you explain what your homeland, Sardinia, means to you, and why is it so important to your work?

My link with Sardinia is very strong because I was born there and because I chose the island as a base for starting projects. I lived outside of Sardinia for ten years, and the urgency to return came from my need for peace and quiet. I started to physically work the land, and now I annually cultivate two plantations of flax and cotton of which I process into yarn for my art. I experience time differently here, it feels longer and more dilated. It allows me to ruminate my ideas more than if I was living in a more contemporary space. San Gavino and Sardinia are my roots and as such grow, move, and spread- while remaining motionless. This is my solid base from which I can move from to know other places, possibly live elsewhere for some time, and then return to my home’s warm embrace. I have a strong need for tangible working spaces, especially my studio-laboratory. It is a place where ideas are absorbed from experiences and transformed into work. For the time being, I cannot transform those experiences outside of my homeland.

You are also a performance artist, transforming your body into communicated language. How do viewers react to your performances, and what sensations do you experience?

I started performing around 2008. I experience strong, complex feelings both before and during the act. I create these performances because often it is the only way I can translate to my audience the energy I experience within my body. The first moment is always accompanied by intimate silence in which I isolate myself from everything else, then the audience starts to benefit from the experience and the performance comes to life. I feel the breaths, the steps, I perceive movement and consciousness. The emotion that flows from the performance is so intense that it infiltrates the whole environment and I become connected to the public. When the performance ends I need a moment to myself for closure. The reactions are different, there are those who feel the need to confront or express what they experience. I look at their eyes and listen to their verbal vibrations; often they cannot find words so instead I am met with hugs and eyes full of emotion. Performance is an empathic moment that transforms commotion into a resounding internal flow.

What is a work that represents an important moment for you and why?

There is no work / project that has not represented an important moment, they are all intentional representations of experiences. I can talk to you about the last event I was invited to for a performance, the “GiornataD”, an initiative that for some years has been organized at the Nuraghe Losa of Abbasanta for their anniversary on March 8th. This date is striking for me because it’s my birthday. It is a tribute to women –  their histories, stories, battles, and conquests – it’s an emotional journey that privileges the female point of view. This year focused on journeys and migrations, which is a very relevant and powerful theme. I wanted to make a performance based on this theme that would demonstrate the conquest of individual freedom, I titled it “War in Progress”. The performance took place at the Nuraghe. Squatting and shrouded in wires I listened to the steps of people around me. Slowly I started to free myself, unveiling my birth and presence in the world. This alone was not enough, as we must also live and move life’s threads. So I started to arrange the warp on two stretched wires and paced back and forth until the construction of a frame was achieved. I plotted an irregular weave, and ended up getting stuck in my own fabric. I tried my best to free myself. With much effort, I bent down and reached for the scissors lying across the floor. Having grabbed them I decisively cut the binding threads. I freed myself, and carefully examined the looks of my audience. I considered this project extremely important, as all of us in the course of existence weave our own histories, and we decide the people and things of which we surround ourselves. Often we fail to realize how some of these choices, protracted over time, are unsuitable and translate into suffering. We have the ability to decide for ourselves what we can do and what we can undo. This allows us to be free.

Tell us about your connection with street art.

My connection with street art is not always continuous or thoroughly planned out like the rest of my work. Often the result is the culmination of experience in the “here and now”. I love ruins and moving around with my work equipment, which consists of balls of wool, nails, a hammer, paints and brushes. During my travels, especially on small trips, I try to discover places that stop me in my tracks and let me communicate to them through my art. Often it is their abandonment and solitary nature that fascinates me. They contain stories that I seek to immerse myself within. Street art presents a space where you can tangibly interact not just with the art, but also the memories associated with the location. You cannot move the art elsewhere, because it operates as a link between the environment and sentiments embedded within the space.

Is it correct to define your creations as works of art at km 0?

Most of the materials I use are self-produced or produced in Sardinia, but I think that being totally defined as km 0 is not correct. I would like to respond with a yes, but I can always turn your question into a suggestion that should not be underestimated.


The art of Daniela Frongia Jana'S is a worthwhile investment:

  • She has a unique and recognizable style.
  • She is an emerging artist.
  • In 2017 she obtained the Best 15 Award at Paratissima.
  • She is committed to her art.



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