History
siamo tuti leonardo (2019-2020)
We focus on the precise opposite of the conventional Leonardo Da Vinci, i.e. the “genius” confidently celebrated (and neutralized) with special effects on the 500th anniversary of his death. We’d like to present – with images and words – another person, another portrait: the personality of a young man. We see Leonardo as a free spirit. It’s a common and convenient cliché to portray him as the old saviour out of reach.'
—Paolo Rumio, Milano, 2019
i vestiti dei filosofi (the philosopher’s clothes) (2016-2018)
“The Philosophers’ Clothes’ – representing a selection of works belonging to a cycle devoted to a restatement of Raphael's ‘The School of Athens’. In this famous fresco the most important philosophers of history are proudly represented in their natural action of expressing thoughts.
This fresco, dating back to 1500-1511, and located in the Stanza della Segnatura inside the Vatican Apostolic Palaces, has been studied thoroughly by the artist Vittoria Chierici. Fascinated by its history and by its characters – covering many centuries and a wide geographic area – which through dialogues with each other eliminate the differences of their origins, the artist explores the theme linked to a sort of arrangement and order of humanistic culture. These fascinating characters are revisited with a cover of colorful tunics which make them abstract yet expressive, alive, speaking. Abstract forms that allow ways of extreme freedom in the use of the pictorial techniques.”
les roses (2014-2016)
I read Rainer Maria Rilke's Les Roses some years ago: 22 poems that he wrote in Lausanne, Switzerland, in a few days - from December 7th to 16th, 1924 - and 2 more poems written just before he passed away on December 29, 1926, at Valmont sanatorium, near Montreux. Rilke wrote these poems in French. Each poem is a rose, a different rose or the disguise of the same one. I felt the poet's willingness in talking to the flower as if it were an entity of extreme beauty and of extreme loneliness. The poet wonders if life can be as imperturbably perfect as suffering friendlessness. I believe that a "theatrical" event may reveal cultural and emotional affinities among the arts in their happening together. I therefore conceived this project as a one night, theatrical event. People will come to see my paintings of 24 roses and to hear the reading of the 24 poems which will be timed with my paintings which will change in color and shapes - from light to dark, because of a phosphorescence acrylic used as a primer.
montauk (2006-2014)
Painting - dancing has been one of my most challenging projects. It all started when I met contemporary dancer and choreographer Liz Gerring in New York who gave me the great opportunity to follow her dance company rehearsals, since 2006. A year later, I did a few works on paper and canvas after watching the movements and poses of the dancers. Since 2009, I have started a collaboration with Liz Gerring Dance Company when I designed the set for Montauk, a new choreography premiered at the Baryshnikov Art Center in New York, on February 5th 2009.
progetto energia (2004)
In Nov. 2003 I was invited by an energy company to visit a power plant in Trinidad and Tobago. I started to work on a new project I called Energy. In February 2004 I started painting about this subject. Based on the general issue of energy and focusing on the feelings and imaginative responses engendered by industrial icons, I created turbine-flowers, done in digital media and painting. The image inside the flower is the imprint of a turbine-burner, an image I chose after spending a few days in a natural gas power plant in Trinidad and Tobago.
The Battle of Anghiari (1996-2003)
In undertaking an integral reconstruction of the Battaglia di Anghiari, has Chierici therefore put herself in the condition of creating a fake? ( or at any rate an unjust operation?...Even so, the current work is not unjust forced for two reasons: because of its impact on the mythic - poetic wake of the Leonardesque work, and because, thanks to her very individual instruments, she manages to highlight structures and otherwise elusive schemes in the Leonardesque fragments.
Battagalie (1995-2000)
“My generation often defended an idea of reality even when it conflicted with direct experience. I attended a school where Pop Art was considered the most influential trend in the 20th century. It was a given, therefore, that the most important world events would provide the frame of reference for my ideas for many years. In this sense, the Gulf War was the input for “my” battles. It wasn’t a matter of exposing the political issues or of emphasizing their journalistic, iconographic value. Rather, I was trying to provide many potential scenarios for abstract representation. As always happens in my more complete works, I would choose a topic that instinctually allowed interpretation on two levels – the present and the historical.”
Nello Spazio di una Mostra (1992)
Compositions done with a stamp stamp ink and acrylics on paper on canvas of cm 120 x 170.
In 1992 while in Milano having a great time with other young Italian artists, I made snapshots of a "quadrerie" from the installation of a big group show organized at Corrado Levi's studio in Corso San Gottardo. From that document, I made a stamp which I used to design a repetitive Cartesian grid which I have been painting on enjoying a change in composition everytime.
Le Stelle di Galla Placidia (1990-2011)
Composition in vinyl on canvas from 1990 to 1992 and on polyflax, from 2010 t0 2011. All the paintings are 200cm x 200cm.
"In 1990, I re – designed the grid of the starry sky mosaic set on the vault of Galla Placidia Mausoleum in Ravenna Italy. Replacing the original asterisks with tennis balls. I have been working on this pattern for many years, but with different techniques. However, I love the idea of having endless freedom of movement despite the fixed drawing of the byzantine mosaics". V.Chierici
Coca cola classic (1986-1989)
Installation of 10 paintings of cm 130 x 170, vinyls on canvas, Milano from 1986 to 1989.
“In 1986, I started to elaborate on Andy Warhol's Green Coca Cola Bottles (1962) that I had seen many times at Moma, New York, when I was a student. I have been painting obsessively with my gesture over the same Warhol's image for almost three years, keeping the same size of the original painting but using different , more flat colors.” V.Chierici.