Explorer of Art, Stefania Vichi

Born in 1986, lived up to 18 years in Città di Castello (Perugia, ITALY), lawyer, graduated in ballet at the Royal Academy of Dance in London… always dedicated to art. This is the biographical synthesis of the Umbrian artist, who in recent years has let her true nature flow, without ignoring it anymore. Coming from jurisprudence, based on rules and dogmas, this change required a mature awareness and a healthy dose of madness. In 2015 the first approach to major works at the request of an architectural firm in Milan. Thanks to this production, commissions and exhibitions in Italian and international galleries and foundations quickly followed.

In recent years, you have been selected among the emerging artists of the Modigliani Scientific Research Foundation in the MOOVART project, with which you have exhibited at Castel dell’Ovo in Naples; in Liverpool at the Riba North National Architecture Center; at the Zeffirelli Museum in Florence and at Palazzo Santa Maria della Pietà in Venice; she was invited to the “REFOLDED. Meta-artistic paths ”by Prof. Achille Bonito Oliva at the Pastificio Cerere Foundation in Rome; she was a finalist in the “EXIBART PRIZE 2020”; you presented the public installation in Castiglion del Lago entitled “ART WANTS TO REBORN” during Castiglione Cinema 2021; she was artistic director of the event in Città di Castello “Metabolisms meets the young Raphael”, collateral to the international event “Festival delle Nazioni” sponsored by the European Community and the Italian Ministry of Culture, during which she presented the artistic performance “PERSPECTIVE INSTALLATION”. In October 2020 the last solo show in Perugia entitled “RENAISSANCE (feat. Barocco) LOADING ART”, sponsored by the Umbria Region and the Municipality of Perugia and curated by Prof. Carlo Pizzichini,
The love for art moves the creation of the work: the artist is fascinated by the art of the past, especially the Renaissance and Baroque art, which she has been able to observe since she was a child with the family of antique dealers who passed on to her. sensitivity. The reference to the “cyclical nature of history” resounds in every creation of the Vichi. History stands as a teacher of life, since “All times return, men are always the same” (Niccolò Machiavelli). Times change, but the underlying system is the same; thus man, while adapting to his time, is always endowed with those vices and virtues that will lead him to reason with the same human impulses. From history, therefore, Vichi converts teachings with art, creating works dressed in contemporary fascination that echo examples of the past on which to reflect to build present and future, convinced that Art must always be the undisputed protagonist in the forefront and usable by anyone through the power of beauty, and not a mere elitist argument. The beauty of Art becomes a human solicitation and since it is visible, it allows you to weld the sensible with the intelligible, becoming a vehicle for ascent, a stimulus for growth, food for thought.

Vichi links her works to a “RENAISSANCE-BAROQUE” referring to historical ideals that can be used in the contemporary, free from the exact centuries to which they refer, convinced that amazement and research, together, elevate man. In fact, if the “Renaissance” is the proclamation of the search for the lessons of the past to extract new light in the present, the “Baroque” is a hymn to amazement and beauty, to the extraordinary timeless creativity. “STAY BAROQUE-STAY FOOLISH”, therefore, since one of the main engines of human history, perhaps the cleanest and most sustainable, is the ability to feel amazement: it is the amazement that prompted us to ask ourselves questions and seek answers for a “New Renaissance”.
Among the most relevant artistic projects: “Lex Italica”, modeled with 3D fabrics and resins, the Baroque pictorial sculptures come to life. The works break the edges of the canvas, crossing the boundaries that delimit it. An “ART-COUTURE” sartorial process that echoes the rich Baroque sculptural virtuosity. The different “editions” recall the names of historical Italian Renaissance families, which invested in art and cultivated the “artistic genius”, increasing the wonders we still enjoy today not only with our eyes; “Loading Art”, first aid kits ready to “cure” the affections of “art anemia” with the restorative infusion of “Vanitas”. A panacea for amazement, a dose of beauty and love for art, a pillar of our history, as the columns in the work suggest. A curative panacea for the “Savonarolas” of our time: the series is in fact connected to the historical episode of February 7, 1497 in Florence, the “Bonfire of the Vanities”, when the friar Savonarola and his followers burned thousands of objects, including works of art, considered impure, sinful, immoral, which in their judgment could do not generate vanity. In Vichi’s contemporary imagination, Savonarola is treated with a “Transfusion of Vanitas”, as a reminder that “Art Never Burns”.
“Art Wants To Reborn”: A cyanotic David by Michelangelo, a popular icon of art all over the world, in a state of tissue ischemia caused by the lack of “art supply”, due to the unexpected period of pandemic closure that deprived all the arts of the public, its necessary bloodstream. The David, a sign of rebirth, invites you to “recharge yourself with Art”, to regenerate yourself with new energies with the restorative transfusion, which restores the original marble color. David’s story, a symbol of faith, intelligence and courage that triumph over brutal violence, becomes a metaphorical parallelism in this particular historical moment: man against the mammoth invisible enemy will triumph also thanks to the power of Art in a “New Renaissance” .

“Ph. courtesy: A. Cuzzolin; C. Carobi; E. Nocentini; E. Imperi”

https://www.stefaniavichi.com

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