\n\n
Madame Cornac<\/strong><\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2024\/12\/Madame-Cornac-190x130-cm-olio-su-tela-scaled.jpg\")
<\/a><\/figure>\n\nMadame Cornac is just one of those paintings that starts out as a story and ended up as a novel.<\/p>\n\n
Specifically, it is a picture that started small: the girl was depicted on top of a horse. Later, however, the situation changed completely. The story became more complicated, needing more space, more time, a key component for the process from story to novel, from simpler picture to more complex picture.<\/p>\n\n
The artist recounts that it took a lot of time to make this painting, many hours of work, time to grow and gain greater strength…<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n\n\n<\/div>\n\n
\n\nThe Votive Chapel<\/strong><\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2024\/12\/LA-CAPPELA-VOTIVA-210x130-cm-olio-su-tela-buona-scaled.jpg\")
<\/a><\/figure>\n\nSo many paintings are composed of multiple canvases, some of which are already born with the project of being composed of multiple canvases, while others are not.<\/p>\n\n
This happens because a painter buys a canvas for a defined project and tries to calibrate it to the size and proportions of the purchased canvas.<\/p>\n\n
This painting ended where the first canvas ended, subsequently, however, the artist was no longer happy with the subject, this girl definitely needed to take a wider breath and have more space…<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nAmina Irebla Oleic<\/strong><\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2024\/12\/amina-irebla-oleic-150x100-tecnica-mista--scaled.jpg\")
<\/a><\/figure>\n\nThe title is the italian for “Soul, Trees, Sky” written upside down, as is the painting upside down.<\/p>\n\n
The protagonist lives in an upside-down world and tries to understand what is happening to her, as it is not so clear to her either.<\/p>\n\n
The sky below is almost empty, there are only three trees that also arouse a sense of loneliness….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nRed is vindictive<\/strong><\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2024\/12\/il-rosso-e-vendicativo-120x80-cm-retro-di-avevo--scaled.jpg\")
<\/a><\/figure>\n\nThere is no painter who has not felt the limit of the canvas perimeter: Burri burned them, Fontana cut them down, and others have done other things. Many have precisely abandoned them to build other worlds outside those perimeters that have become evidently suffocating.<\/p>\n\n
Alessandra Gasparini crosses these boundaries by turning canvases, now finished and painted, and painting retri.<\/p>\n\n
This is his very personal and very original way of going beyond, that dimension that has always been so aspired to, by all artists…<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nWhen I grow up<\/strong><\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2024\/12\/quando-saro-grande-120x60-cm-tecnica-mista--scaled.jpg\")
<\/a><\/figure>\n\nThe protagonist has known all along and from the very beginning where she wants to go, she wants to be a painter. Here clearly the reference is definitely autobiographical. <\/p>\n\n
The pencil simulates the cigarette, the cigarette is inhaled, and she with the drawing will inhale the reality. Even the babacetti she has, if drawn, will be more real than the real thing. The body of one of these even becomes a container tube of color, once cleared, opened.<\/p>\n\n
The too-high, exaggerated wedges are her inner desire to become great, in the sense of a great painter….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nDamarmadillo<\/strong><\/h3>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2024\/12\/damarmadillo-180x200-cm-olio-su-tela--scaled.jpg\")
<\/a><\/figure>\n\nThe meaning of the title of this work is the layering of existence. Like the armadillo, the lacework and fabric petals are its armor. Since none of us is born without a past, without the weight of ancestors, without history, the protagonist character is also within the cyclical and repetitive history, her own very personal one and that of the whole world.<\/p>\n\n
Our past can be a burden, something we suffer or something we use to move forward….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n<\/h3>\n\n
<\/p>\n\n
ALESSANDRA GASPARINI<\/h2>\n\n![\"\"](\"https:\/\/www.rossettiartecontemporanea.it\/wp-content\/uploads\/2024\/12\/4-scaled.jpg\")
<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria.
\nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi.
\nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari.
\nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n
<\/a><\/figure>\n\nMadame Cornac is just one of those paintings that starts out as a story and ended up as a novel.<\/p>\n\n
Specifically, it is a picture that started small: the girl was depicted on top of a horse. Later, however, the situation changed completely. The story became more complicated, needing more space, more time, a key component for the process from story to novel, from simpler picture to more complex picture.<\/p>\n\n
The artist recounts that it took a lot of time to make this painting, many hours of work, time to grow and gain greater strength…<\/p>\n\n
\n\n
The Votive Chapel<\/strong><\/h3>\n\n<\/a><\/figure>\n\nSo many paintings are composed of multiple canvases, some of which are already born with the project of being composed of multiple canvases, while others are not.<\/p>\n\n
This happens because a painter buys a canvas for a defined project and tries to calibrate it to the size and proportions of the purchased canvas.<\/p>\n\n
This painting ended where the first canvas ended, subsequently, however, the artist was no longer happy with the subject, this girl definitely needed to take a wider breath and have more space…<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nAmina Irebla Oleic<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe title is the italian for “Soul, Trees, Sky” written upside down, as is the painting upside down.<\/p>\n\n
The protagonist lives in an upside-down world and tries to understand what is happening to her, as it is not so clear to her either.<\/p>\n\n
The sky below is almost empty, there are only three trees that also arouse a sense of loneliness….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nRed is vindictive<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThere is no painter who has not felt the limit of the canvas perimeter: Burri burned them, Fontana cut them down, and others have done other things. Many have precisely abandoned them to build other worlds outside those perimeters that have become evidently suffocating.<\/p>\n\n
Alessandra Gasparini crosses these boundaries by turning canvases, now finished and painted, and painting retri.<\/p>\n\n
This is his very personal and very original way of going beyond, that dimension that has always been so aspired to, by all artists…<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nWhen I grow up<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe protagonist has known all along and from the very beginning where she wants to go, she wants to be a painter. Here clearly the reference is definitely autobiographical. <\/p>\n\n
The pencil simulates the cigarette, the cigarette is inhaled, and she with the drawing will inhale the reality. Even the babacetti she has, if drawn, will be more real than the real thing. The body of one of these even becomes a container tube of color, once cleared, opened.<\/p>\n\n
The too-high, exaggerated wedges are her inner desire to become great, in the sense of a great painter….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nDamarmadillo<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe meaning of the title of this work is the layering of existence. Like the armadillo, the lacework and fabric petals are its armor. Since none of us is born without a past, without the weight of ancestors, without history, the protagonist character is also within the cyclical and repetitive history, her own very personal one and that of the whole world.<\/p>\n\n
Our past can be a burden, something we suffer or something we use to move forward….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n<\/h3>\n\n
<\/p>\n\n
ALESSANDRA GASPARINI<\/h2>\n\n<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria.
\nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi.
\nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari.
\nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n
<\/a><\/figure>\n\nSo many paintings are composed of multiple canvases, some of which are already born with the project of being composed of multiple canvases, while others are not.<\/p>\n\n
This happens because a painter buys a canvas for a defined project and tries to calibrate it to the size and proportions of the purchased canvas.<\/p>\n\n
This painting ended where the first canvas ended, subsequently, however, the artist was no longer happy with the subject, this girl definitely needed to take a wider breath and have more space…<\/p>\n\n
\n\n
Amina Irebla Oleic<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe title is the italian for “Soul, Trees, Sky” written upside down, as is the painting upside down.<\/p>\n\n
The protagonist lives in an upside-down world and tries to understand what is happening to her, as it is not so clear to her either.<\/p>\n\n
The sky below is almost empty, there are only three trees that also arouse a sense of loneliness….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nRed is vindictive<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThere is no painter who has not felt the limit of the canvas perimeter: Burri burned them, Fontana cut them down, and others have done other things. Many have precisely abandoned them to build other worlds outside those perimeters that have become evidently suffocating.<\/p>\n\n
Alessandra Gasparini crosses these boundaries by turning canvases, now finished and painted, and painting retri.<\/p>\n\n
This is his very personal and very original way of going beyond, that dimension that has always been so aspired to, by all artists…<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nWhen I grow up<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe protagonist has known all along and from the very beginning where she wants to go, she wants to be a painter. Here clearly the reference is definitely autobiographical. <\/p>\n\n
The pencil simulates the cigarette, the cigarette is inhaled, and she with the drawing will inhale the reality. Even the babacetti she has, if drawn, will be more real than the real thing. The body of one of these even becomes a container tube of color, once cleared, opened.<\/p>\n\n
The too-high, exaggerated wedges are her inner desire to become great, in the sense of a great painter….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nDamarmadillo<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe meaning of the title of this work is the layering of existence. Like the armadillo, the lacework and fabric petals are its armor. Since none of us is born without a past, without the weight of ancestors, without history, the protagonist character is also within the cyclical and repetitive history, her own very personal one and that of the whole world.<\/p>\n\n
Our past can be a burden, something we suffer or something we use to move forward….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n<\/h3>\n\n
<\/p>\n\n
ALESSANDRA GASPARINI<\/h2>\n\n<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria.
\nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi.
\nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari.
\nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n
<\/a><\/figure>\n\nThe title is the italian for “Soul, Trees, Sky” written upside down, as is the painting upside down.<\/p>\n\n
The protagonist lives in an upside-down world and tries to understand what is happening to her, as it is not so clear to her either.<\/p>\n\n
The sky below is almost empty, there are only three trees that also arouse a sense of loneliness….<\/p>\n\n
\n\n
Red is vindictive<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThere is no painter who has not felt the limit of the canvas perimeter: Burri burned them, Fontana cut them down, and others have done other things. Many have precisely abandoned them to build other worlds outside those perimeters that have become evidently suffocating.<\/p>\n\n
Alessandra Gasparini crosses these boundaries by turning canvases, now finished and painted, and painting retri.<\/p>\n\n
This is his very personal and very original way of going beyond, that dimension that has always been so aspired to, by all artists…<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nWhen I grow up<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe protagonist has known all along and from the very beginning where she wants to go, she wants to be a painter. Here clearly the reference is definitely autobiographical. <\/p>\n\n
The pencil simulates the cigarette, the cigarette is inhaled, and she with the drawing will inhale the reality. Even the babacetti she has, if drawn, will be more real than the real thing. The body of one of these even becomes a container tube of color, once cleared, opened.<\/p>\n\n
The too-high, exaggerated wedges are her inner desire to become great, in the sense of a great painter….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nDamarmadillo<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe meaning of the title of this work is the layering of existence. Like the armadillo, the lacework and fabric petals are its armor. Since none of us is born without a past, without the weight of ancestors, without history, the protagonist character is also within the cyclical and repetitive history, her own very personal one and that of the whole world.<\/p>\n\n
Our past can be a burden, something we suffer or something we use to move forward….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n<\/h3>\n\n
<\/p>\n\n
ALESSANDRA GASPARINI<\/h2>\n\n<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria.
\nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi.
\nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari.
\nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n
<\/a><\/figure>\n\nThere is no painter who has not felt the limit of the canvas perimeter: Burri burned them, Fontana cut them down, and others have done other things. Many have precisely abandoned them to build other worlds outside those perimeters that have become evidently suffocating.<\/p>\n\n
Alessandra Gasparini crosses these boundaries by turning canvases, now finished and painted, and painting retri.<\/p>\n\n
This is his very personal and very original way of going beyond, that dimension that has always been so aspired to, by all artists…<\/p>\n\n
\n\n
When I grow up<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe protagonist has known all along and from the very beginning where she wants to go, she wants to be a painter. Here clearly the reference is definitely autobiographical. <\/p>\n\n
The pencil simulates the cigarette, the cigarette is inhaled, and she with the drawing will inhale the reality. Even the babacetti she has, if drawn, will be more real than the real thing. The body of one of these even becomes a container tube of color, once cleared, opened.<\/p>\n\n
The too-high, exaggerated wedges are her inner desire to become great, in the sense of a great painter….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n
\n\nDamarmadillo<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe meaning of the title of this work is the layering of existence. Like the armadillo, the lacework and fabric petals are its armor. Since none of us is born without a past, without the weight of ancestors, without history, the protagonist character is also within the cyclical and repetitive history, her own very personal one and that of the whole world.<\/p>\n\n
Our past can be a burden, something we suffer or something we use to move forward….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n<\/h3>\n\n
<\/p>\n\n
ALESSANDRA GASPARINI<\/h2>\n\n<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria.
\nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi.
\nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari.
\nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n
<\/a><\/figure>\n\nThe protagonist has known all along and from the very beginning where she wants to go, she wants to be a painter. Here clearly the reference is definitely autobiographical. <\/p>\n\n
The pencil simulates the cigarette, the cigarette is inhaled, and she with the drawing will inhale the reality. Even the babacetti she has, if drawn, will be more real than the real thing. The body of one of these even becomes a container tube of color, once cleared, opened.<\/p>\n\n
The too-high, exaggerated wedges are her inner desire to become great, in the sense of a great painter….<\/p>\n\n
\n\n
Damarmadillo<\/strong><\/h3>\n\n<\/a><\/figure>\n\nThe meaning of the title of this work is the layering of existence. Like the armadillo, the lacework and fabric petals are its armor. Since none of us is born without a past, without the weight of ancestors, without history, the protagonist character is also within the cyclical and repetitive history, her own very personal one and that of the whole world.<\/p>\n\n
Our past can be a burden, something we suffer or something we use to move forward….<\/p>\n\n
\nListen to the artwork<\/a><\/div>\n<\/div>\n\n<\/h3>\n\n
<\/p>\n\n
ALESSANDRA GASPARINI<\/h2>\n\n<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria.
\nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi.
\nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari.
\nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n
<\/a><\/figure>\n\nThe meaning of the title of this work is the layering of existence. Like the armadillo, the lacework and fabric petals are its armor. Since none of us is born without a past, without the weight of ancestors, without history, the protagonist character is also within the cyclical and repetitive history, her own very personal one and that of the whole world.<\/p>\n\n
Our past can be a burden, something we suffer or something we use to move forward….<\/p>\n\n
<\/h3>\n\n
<\/p>\n\n
ALESSANDRA GASPARINI<\/h2>\n\n<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria.
\nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi.
\nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari.
\nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n
<\/a><\/figure>\n\nBorn in Genoa, February 1964, she now lives in La Spezia, Liguria. \nAlready in her high school days, the artist used to go to the workshop of painter Adriano De Laurentis and fully learned his teachings over the course of five years. In 1984 she attended the nude and figure course taught by painter Giovanni Jobi. \nWhile coming from the rigor of drawing, the recovery of formal and aesthetic reality, in 1985 she landed at the Academy of Fine Arts in Carrara (MS) and chose to attend the course of Painter Giorgio Ulivi. In Carrara she won a scholarship that led her to work at the Academy of Fine Arts in Munich. Chosen by the academic college, she went on to represent the Carrara Academy of Fine Arts, painting section, at the sixth National Review of Contemporary Art in Bari. \nDaughter of an ancient artistic tradition and yet fully contemporary in her unrestrained creative freedom, Alessandra Gasparini masters a hypnotic painting, enchanting in the etymological sense of the term, capable of taking one to an elsewhere where shared memories and recollections overlap with the crazy rules of dreams.<\/p>\n\n