Art Critic

Alessandra Viotti has the gift of expressing her emotions and her passions in her works, succeeding to convey her feelings not excessively to the observer.
His almost minimalist style is the sign of a well-calibrated stylistic approach, the result of mastered creative ability, due both to experience and to a rational mental and manual attitude.
Her works conceived with refined lines with few symbols, clearly express the figure she wants to represent. The emotions and passions embodied by the colours, present in each work, are sometimes circumscribed in abstract forms.
Everything is controlled and calibrated in order to convey the concepts behind the forms that this artist is keen to constantly express.

Marina Volpi
Art Historian and Artistic Director of Artexpertise

Upcoming Exhibitions

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B ooks in French and Italian with black and white or color illustrations.
Tales for little dreamers as well as adults who have kept, treasured, their inner child.

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Artistic Education

Alessandra by Alessandra

S ince my early childhood, and as far back as I go in the history of my life, I draw, and I paint. Everywhere: on walls, on sheets, on mattresses, on the floor, on paper. Even before I can read, I clear away the territories that are dear to me, like nature or faces. My current works have kept the taste of childhood.

When Master Pippo Pozzi agrees to take me in his studio, my parents don't thwart my vocation, provided I don't give up my sound literary studies and a teacher's degree. I frequent the studio with enthusiasm.

T hose were exciting years. The studio is an old-fashioned workshop, crafted and well read like those of the Renaissance, where the most famous artists converge; engraving, painting and ceramics are practised. Studying there, gaining one’s very first experiences there, represent a privilege for which I will never be grateful enough.

In the 1990s, when my master Pippo Pozzi decides to introduce my work in Venice, I fall ill, overcome by the chemical vapors inhaled daily in the workshop. Forced to live under highly controlled conditions, I temporarily give up painting.

I then publish many books that I illustrate in black and white. I find the protagonists from the species of flora and fauna. I also design jewellery, clothes, stage costumes, characters, and I sign several scenographies and sets for theater.

In 2014, I settle in the French Riviera in France. The proximity of the sea eases my allergies. Finally released, I can start painting again, I reintroduce color. I use acrylics with my hands and feet; I forge my own tools, create objects, instruments... It’s an intense period.

I paint illustrative pictures for an artist’s book, “Vera’s Poem”. The warm reception reserved for exhibitions and dedication sessions, testifies to the enthusiasm for this work.

In 2017, it is still the pure color that pushes me to set up the exhibition “Like a flight of butterflies”. Even if what I love above all is the figurative, in drawing as in painting, I obey only one imperative: my need for poetry, and what matters is that the bright brush lives on the canvas, transformed by thought.

I n 2017, I perform the cycle entitled “The faces of light”. Figurative and poetic.

My paintings are exhibited in Paris, at the Thuillier gallery and at the Grand Palais, as well as in Tokyo, Monaco, La Rochelle, Toulouse, Barcelona.

In my works, I approach in turn the dream or the emotion through purified faces. I keep exploring these faces of women, men, animals, painting the emotions concentrated in their eyes. We have to tear the secret out!

As an observer and an expert on the human soul, I paint my characters with accurate and essential strokes, in order to highlight the most intimate aspects. I use a technique based on simplicity, which uses drawing, felt pen and water paint.

By removing the superfluous and keeping only the quintessence, I seek a truth that I intend to exalt with bright colors and some shadows.

I n other words, I do not want an art reduced to decoration or communication that would refuse to listen to sensitive realities. I wish for an art that resists impostures and simulacres, an art that engages itself by escaping the impatience of limits.

In the age of entertainment and social fragmentation, in this rather disembodied world where we lack the authenticity of beings and the power to act, I see pictorial practice as a way to recreate a meaning in our relations with our fellow men, with nature, with the world.

It is in this spirit that in 2018, I begin a pictorial cycle on the pattern of animals, seeking to arouse emotion in man, a disorder conducive to making him react on the animal condition. For it is the painting that must speak, it must create a feeling, open a consciousness by the simple evocation of a drop of blood or the expression of a face.

T he summer of 2019 offered me other topics in the continuation of a burning news that was everywhere surprising and emotional; the mistreatment of women, like that of children, that of animals, was a source of new inspirations for a series entitled: “Fears”.

In January 2020, I joined the ArAnimA movement, which brings together international artists defending biodiversity. Becoming a member of this movement is an honor that has given concrete form to my commitment.

I plead that art, without becoming a societal manifesto, be more than just a witness to the tumult of the world. May he be able, in representing the real, to unfreeze souls, to free minds and hearts from the protocols that confine them, to liberate emotions, to question the world, to shift the gaze to make men feel the secret harmony of the universe.