Ilaria Bochicchio

Ilaria Bochicchio was born in 1988, graduated at the European Design Institute in Rome in 2010 and moved to Milan the following year, where she attended the Faculty of Modern Letters and Mi / Master.

She began her career as an illustrator and graphic designer by publishing books such as "Adrian wants to go to school", adopted by Amnesty International for the value of its social content, and Luciano Minerva's novel "A lifetime is not enough. Memories from a Metamorphosis". Her illustrations were published in several magazines: NuRant, Hestetika, Liber, Corriere della Sera's blog.

She has experimented with multiple languages and techniques: collage, engraving, digital art and sculpture, until she completely focuses on painting in 2014 when her research #chambres began.

In 2015, she was selected as one of the hundred artists chosen for the Young Artist Biennale, with European participation. The following year she participated in the collective Form and No.Form along with American Abstract Expressionism exponent, Natvar Bhavsar (born in 1934), at the Salomon Arts Gallery of TriBeCa, New York. She has exhibited in several personal and collective exhibitions in Italy, Berlin, San Sebastiàn, Miami and New York, where in June 2017 she presented her latest research #chambre works with her personal exhibition P A I N T I N G S.

Artist, largely self-taught, she began her pictorial study in an attempt to transform and translate unconscious impulses into shapes. A direct and instinctive language getting to the canvas unfiltered. Ilaria Bochicchio's bodies are closed in claustrophobic compositions. Each room is the place where these pieces of indolent flesh live, represented in their intimate abandonment. There is no anatomical description, but there's the pulse of limbs and muscles distorted and torn.

Her painting seeks a condition that reminds the sensation of human existence. The infinite layers of colour are imprisoned by the final white veil, which, like a worn out skin membrane, lets you see the inside.

The bodies become a white chromatic mass soaked in color. The final draft is reached by brush and spatula strokes aimed at creating a sculptural physicality and a disintegration evoking anthropomorphic figures. The strength and intensity of colour interact with light and create volumes that alternate in solid masses and liquid zones. The figures are filled with sensuality and evoke the anatomy of feminine bodies even in the most "informal" areas of the paintings.

The study of colour, in every canvas, is laden with different connotations through the chromatic atmosphere chosen. The pictorial gesture is exercised by dropping every technical conditioning and solely headed to an inner obsession. The will is to be able to carry, without mediation, a purely instinctive reality described in a composition moving into an expressionist territory. The apparent calm of some profiles contrasts with the neurosis of others, but they all retain the same sign and the same intention.