Contemporary artistShow Biography
Sofia Rocchetti has created her own unique and distinctive personal communicative language. The artist relies on the malleability and transformability of paper, pure pigments and fabrics embellished with embroidery techniques to present her personal exploration of what each of us is but would prefer not to show.
Her investigation of aggression and its multiple forms and colours twists and turns throughout her entire artistic journey, from the paintings made with pure pigments on paper pasted over honeycomb panels, to the portraits made with embroidery techniques and the wearable papier mâché sculptures.
An integral part of her technique and message is her tactile approach to the materials: pure pigment is applied directly to the paper with bare hands, and the embroidery and sculpture are also manual works. This choice is not only a reflection of the lure of an ancestral and atavistic search, an element that arouses an endemic heat at first glance, but it also determines one of the characteristic elements of Sofia Rocchetti’s entire communicative and expressive journey: the sign. Whether it is agitated or composed, straight or curved, stark or discreet, and whatever the technique used in each instance to express the artist’s search, the sign is impressed on the form, creating three-dimensionality and plastic concreteness for the subjects who are protagonists of a space that extends beyond the canvas.
It is also thanks to the sign that light is released directly from the work: indeed, it is seized by the colours and shapes of her works, composed of metallic, geometric and macroscopically anthropomorphic organisms where they are not actual portraits, but at the same time it is from behind the surface that a unique luminosity radiates, playing with the three-dimensionality.
In this way, Sofia Rocchetti’s works build the outlines of a common feeling, very often denied, hidden or taken to extremes. The artist first deconstructs the forms, in the work itself and then in the mode of presentation: thus, to the eye of the observer, the individual fragment or painting acquires a strong and easily recognisable individual personality. However, it is thanks to the modularity of the works, which is mutable and never binding, that the artist's narrative is enhanced with ever new nuances, colours, lights and shades.
Despite the harshness of the forms, often similar to spines, shelled creatures or crevices, the message is ironic: the titles of the works or the slogans on the portraits become ambassadors of a message that is never dramatic or hopeless. They merely draw the gaze beyond the severity of the forms, forming in the observer a free and personal interpretation of that feeling which is simply real and tangible, even if well concealed.Hide Biography