Interview: Rachele Amadori
Luca Curci talks with Rachele Amadori during FUTURE LANDSCAPES, the third appointment of BORDERS ART FAIR 2021, at Palazzo Albrizzi-Capello.
Rachele Amadori was born in Cinisello Balsamo, a suburb of Milan, into a family which has always had art in its blood, while not making it a cornerstone. Rachele had a fairly difficult childhood, stuttering from an early age, she found in art her way of expressing herself and freeing herself from patterns that kept her tied up. Her life leads her to travel almost all over Italy, capturing the images, the sensations, the emotions, colors and words of all the people she met on his journey. This cultural baggage made up of volunteering, research and study of spirituality, of psychology and relational dynamics, is transformed into his art that contains a psycho-anthropological path of re-elaboration of these stimuli. The canvas is a way to put them in order, externalize them and fix them with colors and lines. Her art it is emotional / experiential. In fact, buying a work is taking a piece of her own path. Those who know her often get in tune with her, get involved and take a part with them of its energy. Rachele, is a graphic designer, web designer, painter and author of literal texts, all characteristics that we find in her creations. Graduated in Communication Design at the Politecnico di Milano, she refined her knowledge in graphic design, brand identity and social media content creator working mainly as a freelance. After experiencing as an exhibition curator and developer of graphic material, 2020 the leads to exhibit at a monographic exhibition in Foggia, the city in which she has dedicated years to volunteering and training. Also in Foggia is the starry vault made up of two different installations over 3 meters in diameter.
Luca Curci – What are you currently working on?
Rachele Amadori – I am a person who loves to experiment, change media, explore new possibilities and understand which surface or medium is the most suitable for the specific canvas / image / message. For some time now, I have been working on depictions of a different spiritual order. I seek, time permitting, the different forms of spirituality: from the Toltecs, to Buddhism, to Christianity, to voudu and shamanism. I like to know the languages and the representative worlds. They are infinite worlds, which help to connect me both to art, being themselves forms of art in language and representation, and to myself and to what surrounds me.
LC – What’s your background? What is the experience that has influenced your work the most?
RA – It is a very appropriate term ‘experience’. Life is full of experiences, encounters, problems, dramas and extreme joys. These are the primary seeds that have generated what I am and, consequently, my art. Surely, in particular, the experience within a non-profit foundation in the territory of Foggia, initially approached in search of help for my brother, was fundamental. I had abandoned art, a gift made to me at an early age by my artist mother, considering it useless in the face of the earthquakes that happened within my family. It was precisely the psychiatrist of this center, Nuova Specie ONLUS foundation, who reactivated the artistic lymph, spurring me on, believing in me and in my expressive abilities. For my part, I did not study at the Academy or specialized courses. It was a slow process of experimentation and research. Love and hate. A continuous attempt to tell a story behind the story that happened directly, like a tool that joins
with another to add ‘color’. I simply want part of the symphony.
LC – Did your style change over the years? In which way?
RA – It has changed countless times. I always thought this was bad, unprofessional .. Then I stopped and thought. But why? What art would it be if I limited myself first in expression? Maybe when I land in a more adult stage I’ll pick a medium and settle them. Meanwhile, I still feel the curious energy that drives me to try. Even at 33! Art is one of those few fields that doesn’t judge me and doesn’t make me feel wrong if I don’t respect all the rules. So I let it flow naturally.
LC – What is your creative process like?
RA – There is no single or unique way. It happens, sometimes, that in the first instance I have a meaning, more or less concrete, that I want to express (as already mentioned above) and therefore I search for and combine forms and styles. Or, observing what surrounds me, I visualize ‘orders’, colors, schemes or graphics that, in my opinion, express a concept themselves, and I want to clarify it visually. With my language, but with its rules. As if it were a game of understanding. This is why my paintings often do not have only a reading verse.
LC – What is the most challenging part about creating your artworks?
RA – After the sketch, after having clarified the project to be carried out, I look at the blank canvas, perfect … and I say … oh my God! I look at the drawing materials, beautiful, in their boxes, perfect colors among other perfect colors and it seems to me to create disorder in such a perfect order. But then it’s like jumping with a parachute and the first brushstroke, a pencil mark, is like when as a child, for the very first time, you had an evening with your friends and you come home with the nascent malice and a new form of strength. You can’t wait for your second chance of expression in that world.
LC – We were attracted by your last artistic production, has the artwork presented been created for the festival or as a part of preexisting works?
RA – The painting ‘Dimitte’ was made for the festival. The theme ignited a focus sensitive to me, it offered me the opportunity to communicate a thought that had been navigating my head for a while. So, I got on board with the project.
LC – In which way the artwork presented in our exhibition is connected with the festival’s theme?
RA – The framework consists of several levels. On the bottom there is a drawn sky, represented by ‘careless brushstrokes’, then there are trees with lots of leather (represented by the ink texture). Later we can see architectural projects mentioned on the left, which lead inside, in depth. All ‘ruined’ by tears, made at those levels, at those stories that, at the center, create a human figure in profile that turns its back on the observer. It vaguely resembles a billboard that carries with it carts of advertising or truths that have represented our needs, our languages and our projects that, in most cases, have been disappointed. Today everyone wants to say their thoughts, but there is little concreteness. The important thing is no longer ‘the project of a future where you can feel better’, but ‘I said it’ or even ‘I think so’. A propaganda world.
LC – What do you think about ITSLIQUID Platform?
RA – I have collaborated with the platform on two occasions: the exhibition in Barcelona at the Valid World Hall and the current exhibition in progress at Palazzo Albrizzi Capello in Venice. Both occasions were an excellent way to meet other artists and have the opportunity to join a ‘community’ of art lovers. The network is large, well organized despite the multi-level (logistics and media) and internationality. In addition, in Venice, I was able to physically get to know the operational head of the group and it was a great pleasure to touch the seriousness, experience and commitment of the entire team. Not only that, even the simple and human exchange was very pleasant and engaging.
LC – Do you think ITSLIQUID GROUP can represent an opportunity for artists?
RA – I think itsliquid group gives every artist the opportunity to ‘define themselves’. The world of figurative art is a real jungle, often silent and enormously vast, complicated and confusing. For an artist, being able to move without losing the personal creative drive between disappointments and endless rules is really complicated. This platform ‘liquifies’ the process … who knows, maybe that’s why it’s called itsliquid?