Chiara Cappelletti | Paintings

Chiara Cappelletti | Paintings

 

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Chiara Cappelletti | Paintings #artpeople

Whether or not the legacy of his graphic work, which began in 1987, then as a designer superfine and used to play with the multiple semantic possibilities of the image, Chiara Cappelletti realized today, as full-time painter, paintings by an extraordinary wealth of details where deep his talent picker unreal reality (post-real, super-real). An oxymoron but in painting has a precise and privileged space. In this area, in fact, the artist-poet ( “poiein” in greek described the divine act of the Demiurge able to create from nothing all things. And in the way He wants, of course) works with acrylic on canvas in vast field of almost infinite possibilities of existence. Val perhaps worth dwelling briefly on purely semantic value of the word “poetry” to better understand the language of this artist who through one of the first and oldest forms of expression, that is, to imitate nature as closely as possible, can produce the opposite result: that is, to represent “nature-mind” what in reality usually does not arise. Thus, the term “poetry” (poiesis) which as mentioned comes from poiein greek verb, meaning “to invent, compose, produce, make, generate,” describes an act generative, and basically means to turn in “being” something “it is not.” But when poetic artist is implied the physical use of hands – as well as the biblical god Yahweh who forges Adam kneading, “com-posing” along with land and water and then blowing into life. The poetic action is therefore also this: to put together physically (com-pose) physical elements with other abstract and symbolic, making use of both hands and thought. Likewise Chiara Cappelletti connects in one form or figure the real universe and concrete, made up of people (predominantly female gender), animals (dogs very often), natural and human environments elements, internal and external, with fantastic aspects, philosophical and not, in any case not-real or plausible. The variety of objects and situations of his paintings is multiple and approaches infinity, as well as the natural world offers an indeterminable number of phenomena. But in the “naturalness” of the expressive painter always he fits the destabilizing element: his thoughts, his imagination, his experiences, dystopias that she keeps inside the real universe but underground to it, almost always invisible. Their representation also forces the viewer to see and, therefore, to consider the possibility that the “nature” has in itself an endogenous component that diverts the course. The effect is alienating, absurd, ironic, extravagant; yet so different from the dictates of the twentieth century Surrealism and Metaphysics of De Chirico or Savinio. “Unreal realism ‘” visionary Cartesian “were the definitions that the artist Fabrizio Clerici (1913-1993), described at the time by critics – who always need to fix and limit – as a visionary and a Surrealist, he adopted for his own painting ; regulated by the prospect and the search for a true that, in some ways, may have some bearing on that of Cappelletti. She, like Clerici, is not easily classifiable in a stream, a trend or a group, although his work has some reference with the visionary neo surrealist whose hyperrealism provides further shore.

Giovanna Grossato

Chiara Cappelletti: website / behance / https://www.facebook.com/chiara.cappelletti.16?fref=ts