In Prejudice, two figures lean toward one another in a gesture that suggests tenderness and connection, yet their faces are partially obscured by the piece's title.
Constructed through an analogue collage process, the work preserves visible cuts, tears, and overlaps. Layers of printed matter accumulate around the figures, creating a dense field of interruption. The original imagery carries social codes of its time, embedded within gestures and postures that remain legible today.
Rather than presenting prejudice as an external force, the work situates it within moments of intimacy and familiarity. The fragmentation of the image exposes how inherited beliefs and cultural assumptions can intrude even in spaces of closeness. By reactivating archival material through contemporary assemblage, Di Grado transforms the past into a living archive.