MY STORY / EXHIBITIONS / PRIZE / BIBLIOGRAPHY / REVIEWS
The water is the main element of my work that leave well visible tracks on the paper transferiting it's liquidness.
Ilaria Finetti was born in Siena, she attended the Art Insitute and graduates in painting. She immediately showed a predisposition and a strong love for the watercolor technique.Her passion for illustration took her to attend the International School of Illustration of Sarmede where she had the chance to improve herself with Arcadio Lobato.Her artistic background led her to look for a merger between an illustration poetic language and a more abstract and surreal language, made of organic shapes, dreaming figures that float between the transparencies of the watercolor evoking fantastic and visionary worlds. Her art is inspired by nature, microcosm and biology. A recurring theme in her works is fertility, the process of life creation and the intrinsic connection with water, the center of this cog.
2021 Natura in amore, Visionaria, Siena.
2020 Natura aliena, Area Contesa Arte, Roma.
2020 Natura aliena / Area Contesa Arte - Roma, Italia
2020 Le magiche trasparenze, Caffè del teatro, Rapolano Terme.
2019 Mater, Immobiliare Art, Trieste.
2018 Ilaria in Waterland, Etoile Toy, Florence Dance Center, Firenze.
2017 Intermondo, Libreria Mondadori, Siena.
2017 Tra materia e visione, Bruscello concept store, Siena.
2016 Arte e Scuola, Biblioteca Comunale, Monteriggioni.
2015 IncontrArti, Creartsi, personale+live ART Performance, Siena.
2015 Parvenze, Biblioteca Comunale, Monteriggioni.
2017-2016-2015 Permanente presso Divinorum Winebar, piazza della Cisterna, San Gimignano.
2015 Silente è il mio colore, Caffè Il Palio, Piazza del Campo, Siena
2020 Assolutamente arte , Galleria Area Contesa Arte – Roma.
2019 Mantova International Biennale of Contemporary Art / Museo Diocesano Franceso Gonzaga di Mantova - Mantova, Italia
2019 Evoluzioni dell'arte e metamorfosi creative , Galleria Area Contesa Arte – Roma.
2019 Visioni D’arte, Galleria Area Contesa Arte – Roma.
2019 Donne ordinarie diversamente lucide, Villa Casa Grande – Figline Valdarno.
2018 Paratissima14, Feeling Different, Caserma La Marmora, Torino.
2018 Lux Art Gallery, Trieste
2018 Donne ordinarie diversamente lucide, Hotel Minerva, Siena.
2018 Fragile III, Handle with care, Museo teatro della Commenda di Prendere, Genova, Artisti Italiani.
2018 Open way, Lokarjeva galleria, Aidovscina, Slovenia.
2017 Replay / Il vizio dell’errore, Artisti Italiani, Sala Messina, Giarre.
2017 Saloni regionali 2017, Associazione culturale Il Sestante, Villa Prinz, Trieste.
2017 Tra lucidità e follia, Galleria Zero Uno, Barletta.
2017 Fiera Arte Mercato, Museo Magmma, Villacidro.
2017 FilosoFestival Puccini, Teatro Puccini Firenze.
2017 Arte su carta, Simultanea spazi d’Arte, Firenze.
2017 World Wide Art Show, Chelsea, Caleum Gallery, New York.
2017 Impronte, Galleria AccorsiArte, Palazzo Priuli Bon, Venezia.
2017 Sguardi contemporanei, Galleria Rossocinabro, Roma
2017 E allora!, Galleria Zero Uno, Barletta
2017 Impronte, Galleria AccorsiArte, Venezia.
2016 Proprio qui, Galleria Zero Uno, Barletta.
2016 Flyer Art Gallery, Roma.
2020 Premio della Lupa, Mostra collettiva galleria Medina Roma.
2018 International Price, Roma Caput Mundi.
2017 Segnalata dalla giuria al premio Combat Prize.
2017 Selezionata al Premio Internazionale Marchionni.
2016 Novara Art Prize 2016, mostra collettiva presso Centro la Riseria, Novara.
2016 Concorso Internazionale Pittura grafica e acquerello Metropoli di Torino, mostra collettiva presso mausoleo della Bela Rosin, Torino.
2016 Premio Zambelli, mostra collettiva presso Centro di cultura e arte contemporanea Torre Strozzi – Perugia.
2015 Menzione di merito al premio Roberto Zambelli, mostra collettiva presso Centro di cultura e arte contemporanea Torre Strozzi – Perugia.
2010 1° Premio, Premio di pittura San Galgano, 2° Edizione – sezione giovani pittori contemporanei, mostra collettiva presso Biblioteca comunale di Chiusdino (SI).
2021 Artisti italiani, Sartori editori.
2020 Acquarellisti italiani, Sartori editori.
2019 MANTOVA ART EXPO
Biennale Internazionale d’arte contemporanea
2019 Catalogo Sartori, D’arte moderna e contemporanea.
2018 Art Now Novembre/Dicembre.
2018 International Price, Roma Caput Mundi.
2018 La Toscana Nuova/Febbraio 2018.
2017 Catalogo Premio Combat Prize.
After graduating in painting from the Istituto d’Arte in Siena, training at the International School of Illustration, Sarmede enabled Ilaria Finetti to develop an in-depth familiarity with the theme of dreams and fantasy, which have directed her towards the “loci of the imagination” that remain the focus of her artistic quest today. The genre of illustration has resulted in her ability to trace a coherent path from one work to another, like chapters in a single story developing from one image to another, their common thread the language of colour with its varying densities, gloss and transparency. It is a creative process constantly suspended between control and randomness. This is also courtesy of her adoption of the watercolour technique, which lends itself to an unexpected effect and to the magic of a form generated by the interaction between water and colour and their interaction on paper. “I always draw inspiration from water, which I use to transfer my thoughts and emotions onto paper”, says the artist. As well as its expressiveness, watercolours also play a part in the meaning of the work. Water can be thought of as a microcosm in which the artist
ideally immerses themselves to trace the origins of life. In such a “wonderland”, Ilaria encounters primitive creatures, wrapped or linked together by floating filaments, distributed to form complex structures, naturalistic insights and imaginary horizons. Painted with a stroke that brings together the creative imagination of illustration with scientific accuracy, these forms reveal a profound interest in the world of microbiotics, seen as a metaphor for a world invisible to the human eye. In science, the microscope may open up this hidden reality, but in the work of Ilaria Finetti, the chemistry of the elements – colour and water – joins fantasy to tell the stories of this secret, silent life that flows under the surface and takes on a macroscopic format here. An unknown, fascinating dimension explored by the artist in search of a primordial and unspoilt beauty.
The transparency of Ilaria Finetti’s watercolours move through paper space in constant development, fluctuating between dreams and abstraction. Colour is the star of the show. Her choice of technique, watercolour, is no coincidence. In this medium, the pigment is pure, free of dregs. The brushstroke is not matter, it is sign. The background is not a screen, but a filter. Painting is a voluntary transgression of visual limits where colour casts a veil over light and is expressed in tones like a musical harmony. Morphemes and semblances unfold in the picture as if overlapping links of a chain, giving a voice to the surrounding space, whirling freely, not constrained by gravity or physical substance. Ilaria’s art is deliberately devoid of conceptualism. It flows directly from the soul, to solicit the emotions of the observer. Painting is a world born of the artist’s intentions vis-à-vis their medium, determined and created partly by chance and the mysterious play of extraneous forces such as the unpredictability of how watercolours intermingle. It transcends the abstract to create a universe of meta-abstraction, where every formal reference loses its iconographic purpose to represent a range of emotions, in a purely visual sense. The pure experience of pictorial forms and immersion in unexplored depths with a joyful momentum makes Ilaria’s work boldly crystal clear. Her watercolours almost let us glimpse emotions, memories and images, through the clarity of the artist’s eye. The voids are the breathing of the soul, the paper left blank giving us a sense of depth in a space featuring suspended colourful larvae. Ilaria’s paintings create spiritual links with the
viewer. Colour is entrusted with the task of exerting this influence by communicating beyond the intellect.
Ilaria Finetti is an artist with determination in her simplicity: in watercolour on paper, she allows her hand to move drawing inspiration from everyday life, her work and the magic of human creation. Watercolour is a delicate, light and undeniable technique. Its complexity lies in its application and masterful use, yet Finetti fully manages to convey character and determination in her tones – dark but not too much so, well-defined and precise. We witness the precision of her brushstroke and the conceptuality of every creation, from embryos that embody birth to the plants that are gracefully revealed. We thus seem to be in the midst of a fabulous world among Finetti’s strokes, in which we can feel free, naturally guided by the curved lines of a simple spirit who knows how to make a difference in the contemporary artistic landscape.
Her work is pervaded by a seemingly surreal atmosphere, yet linked to something much more tangible: life, organic and natural forms, microcosm and every element in relation to biology; in particular, we can sense a link with the process of creation, more specifically in relation to fertility. Every element projected within the white space is not only painted, but “communicated” and felt; these are the borders of her veritable design for life.
For Ilaria, watercolour is the only medium in which she can express her transparency, lightness and fluidity, the life within one spot, whether human, animal or related to the origin of something much greater than ourselves.
As she paints, she enters a state of peace and liberation, to create stories that can run in parallel. The artist overlaps multiple layers and colours, as stories that intersect without ever getting mixed up, as creatures that build important links one to another. All her representations are the result of a tangible idea, subsequently developed in a dream world. There is nothing false or fake, there is only one complex imagery; her imagination is solely the result of complex preparation. In her works, the forms are always gentle and sail in usually multi-coloured waters. In her early work, she mainly experimented with colder colours often linked to water. To give greater transparency to her thought processes, she now uses warmer hues, bringing herself closer to a less abstract and more passionate vision. In Liberare le forme – settembre [Liberating forms – September] (2018), warmer colours dominate their colder counterparts and the figures become more confused. The concept of “form” no longer stands, replaced by the concept of “layers”, whether of colours or a profound imagination. All her work has a dualistic value: freedom and protection, the latter “freeing” its subjects and never seen as any kind of oppression. One particularly striking work: Giocare nei giardini segreti dei sei fiori morti [Playing in the secret gardens of the six dead flowers] (2018), where certain parallels can be drawn with Hieronymus Bosch’s triptych The Garden of Earthly Delights. Here, the artist’s intention is to tell stories that occurred in a garden, the theme a link to creation and therefore also to death. And as in the garden of earthly delights: “To bring light to the Earth, we need to imagine a twist in the tale, where an almost bare and lifeless representation suddenly gives birth to an infinity of creatures, ready to bring other stories to life.” In this garden, as in her other works, a spherical form (or circle) appears very frequently, as a never-ending concept of “origin”. The circle represents perfection, completeness, union, the unbroken. It has no beginning and no end, two extremities that come together to cancel each other out. This is the circularity that pervades Ilaria’s work. The circle has a dual symbolism, both magical and celestial, representing the spiritual dimension as does Heaven. All of Ilaria’s work is linked to primordial substance, as intangible and transparent as it is homogeneous and distinct. Everything is in harmony, with no sides, neither above nor below. There is only one story that brings together so many dreamlike tales.
The dynamism of the circular, elliptical form and the simplicity of watercolour deliver a fascinating and lively vision in the intoxicating colours of human history. In its “spheres”, “bubbles” and “globes”, water and earth form the foundations of creation, as containers, protective casing, almost “wombs” reaching a social state in search of immunity from external peril, for time immemorial.