Alessia Iannetti was born in 1985 in Carrara and attended The Academy of Fine Arts where she studied with Professor Omar Galliani. She inherited his skilful technique of graphite on wood panel, and the “stigmata” of the most fascinating contemporary illustration which can be seen both in her perspectives and in her cinematography framing, made of blacks and whites, and of endless shades of greys, restoring the perfection of depth to monochrome and drawing.
Unlike today’s conceptual language, not contemporary enough, Iannetti’s art is cultured, confident of her figurative veer, and proud of joining a dreamscape and surreal Neoclassicism that ranks her as one of the most interesting artists of the New Surrealism and New Pop art scene.
Even though Iannetti masters darkness and the most intense art-house Noir, she chooses not to seduce through fear or anxiety. She would rather urge our eyes towards an intimate, other dimension, whose rational parameters are upside down, as it is in a dream. Where silence tells of a feeble flap of wings, of a hidden heavy heart in which beauty’s many colours live, and that is ready to implode to bring them to light.
Iannetti’s works are imbued with a nocturnal mysticism inspired by the Dark Anglo-Saxon notes (to whom the author makes a precise reference by honouring, in the titles of her works, authors as Smashing Pumpkins, Joy Division, The Cure, Hole…). Her works suggest a highly rich Theme of The Shadow, that recalls both V. Corcos’, D.G. Rossetti’s and F. Khnopff’s sublime liberty painting, and the “personal” romantic and dusty features of Lady Hardawen’s, Margaret Cameron’s and even Lewis Carroll’s photography, for her naturally dramatic characters.
Hence, her models become delicate maidens on the verge of myth and everyday life, bordered with grey woods’ leaves that let the Artist mix light and shadow, as it might be in a Cameron like “Glass House”.
Meanwhile, the mysterious uncertain auras shrouding the models are so evocative that make the viewer believe he can hear whisperings and rustlings, and reminds him of J. Lindsay’s literature, and, above all, of P. Weir’s famous masterpiece “Picnic at Hanging Rock”.