The artistic research of Mira (Francesca Colombo) unfolds within an intimate, layered dimension where the violin sheds its academic constraints to become a generator of emotional soundscapes. Moving between classical music, theater, and performance art, her solo practice intertwines strings, vocals, and synthesizers to weave dreamlike melodies. Her core creative impulse lies in subtraction: stripping the violin of traditional virtuosity to explore its most minimal, tactile, and visceral nature. By emphasizing extended pizzicato techniques and the percussive potential of the instrument’s wood, Mira transforms it into a resonant body, merging the archaic with the contemporary