On the occasion of Aurora Consurgens, translated from Latin to “Alba Nascente”, Dorothy Circus Gallery collaborates once again with the extraordinary graphites on wood by Alessia Iannetti. Internationally recognised for her technical mastery, her works’ spiritual content, and as a disciple of Omar Galliani. The brand new series, characterised by ten artworks made of graphite and watercolour on wood, is temporarily placed as a homogeneous and coherent continuation of that same cathartic and existential path announced in the Daphne Descends series exhibited at the Dorothy Circus Gallery in Rome in 2013. The artist once again leads us on a long journey of initiation that allows the viewer to access a new life of spirituality.
The artist was inspired by the philosophical and initiatory rituals, not only from Greek and Siberian mythology and religion but also from a close study of alchemy, perpetrated for a long time in medieval times. The homonymous text by Tommaso d’Acquino comes to mind with this particular subject. The series by Iannetti presented on this occasion brings its viewer back into the woods and classic landscapes of the artist’s iconography, with a further stylistic complexity and power, attributable to the artist’s strong attraction to the themes of Beauty, Love and Magic. Declined with Aurora Consurgens, Iannetti, as Virgil does with Dante, accompanies the observer on a journey from the Underworld to Eden, from death to his rebirth, intending to purify and enrich his soul.
Transformation remains the central theme of the artist’s works, who masterfully unfolds with her canvases a path to redemption that is also an initiatory path towards understanding her behaviour and mistakes. Concepts such as “Catabasis” and “Anabasis”, “Yggdrasill” and “Vitriolum” are present and very strong in the Greek, Norse and alchemical-medieval philosophies, which intertwine in the series by Iannetti, all going to indicate the path of metamorphosis in which. To conclude with the words of Iannetti: “Wild woods full of curiosities are still the materialisation of my inner world. The female figure is always protagonist; she may be the transposition of my own soul in the painting, or maybe the observer’s reflection in a scenery shaped to be shared.”
