Giving up the suggestion of the object, Gianna Bucelli is currently realizing, with the use of a happy palette, her own little world od dreaming, freeing it in fantasy.
The yeast of her inspiration is an intriguing vision of the human body which allows her to express herself with absolute freedom, offering itineraries and reflections of great taste.

Idea and dreamy sensitivity merge with delicacy, forming a narrative repertoire of harmonious and simple dialogues, realized with the timeless clarity of a fairy-tale world.
Her mood changes, blended through memory, are returned to us in an atmosphere filled with poetic strain.

"Noi due" is the title of this exhibition where the dominant theme is represented by the legs: sometimes as the leading, sometimes as friends, sometimes complicit, sometimes allied, but always in seeking dialogue and continued hope for something to happen.

It seems to me that these works are turned to optimism, to the subtle lights of spring and to a certain joy that only the dream can give.
It is a pleasure to be on the side of Gianna and consider the world with her own eyes.

Luca Rendina 2016



Gianna Bucelli is an artist who thinks and seeks without be distracted by the nasty noise of modernity but wants just to communicate with the world, from her serene Tuscan shelter.

Communicating means, first of all, recognise themselves in the picture created, stimulated by the visual pretext of her imagination, by the poetic and suspended environment of her world.

These works tell different moments of the same story, of a dreamlike special condition, abandoned in front of the whispered aspects, as in sort of a multi-level scenic construction on the background of a sky that reminding the colors of the Italian Renaissance.

Gianna's painting, as she explains, is: "to contemplate all the stars and give in to the dream, a regenerating dream, a dream as power supply, a dream as a food for creative imagination."

Gianna invites us to enter the wonderful worlds of fabulous settings with characters from literature evoked by the memory of a painting that recalls the art of the early twentieth century.

Her works have poetic titles, "Beyond the line of the sea", "Flying over the sea", which bring the possibility that art gives us to abandon ourselves to her.

"You cannot stop dreaming" is the title of this exhibition designed as a journey into her own inner tale, released from the mysterious archive of the unconscious and played by a palette where the colors make up a perfect symphony.

Luca Rendina 2016



Oil paint is slow to dry, like the breath of those who wait and distracting in the forms of colors that impress the canvas.
Acertain nostalgia that is not the same as it once was but that comes from impatience of moving legs.
The timelag transforms memory into reality and is lost in the detail of the remembrance.
So that brings into play the possibility of a glance elsewere, coupling almost unthinkable unless you had the time to imagine.
Instead, he had to open the umbrella to see the sun and he walked by the sea to hug the blue, keeping aloof, without meeting the eyes of any onlooker and to wait calmy for it to dry on the other side of him.

Michelangelo Coviello 2014




Image you being between the arms of a suspended time.
A visited, known and inhabited time.
Image you being in a landscape that cancels your mind out from an estranged nature. A touching nature that lives in our gazes and senses like – remembering Simmel - a conciliation promise, the end of a fragment. "As an artist out of time - Gianna Bucelli tells  - I still try to find the beauty of things in the world, in the nature, in the objects, fixing their sacred reality. I won't to celebrate the beauty for pure pleasure but to raise it up from the matter, suspending it in the Time".

We can't take for granted the understanding of a natural space. We have to try to understand the nature like a vital configuration of a present, full of emotional bonds and habits that push us in an "outside space". Like a transition that emerges from a simple life way and as if it were a theatrical show, these canvases lock ours eyes in a continuity of a scene; in fact, Gianna Bucelli organizes her pictorial space with wide wings.

The Gianna Bucelli's painting tries to touch the landscape, a tuscan landscape. She weaves it with a silent touch, in between silvery or golden plans of a sky  intimately conceived. Gianna, with a secret order, leaves emerge a little sensitive point that with a subtle ambiguity, like in a dream, delivers us into a deep and silent emotion.

Antonio Locafaro 2012




Three artistic journeys by three of the most representative subjects in the entire history of art, combined with a pictorial style which is never banal, but very personal, with a constant tendency to renew itself, seeking new roads as part of a constant, vital search.

Portrait, landscape and still life. Gianna Bucelli uses very classical subjects to communicate an extremely contemporary message: amidst the beauty of the world, nature and objects embodied by strong, textured shades, man loses every point of reference and feels confused, out of place, deferred, incapable of expressing his inner feelings or even of making his presence felt.

The artist shows us three girls, from behind, their faces covered by masks, hiding themselves from the world and from others, albeit playfully, or an intimate exchange of glances between a boy and a girl, wearing blindfolds, emphasising the lack of a link and therefore the inability to communicate with the outside world and with others. And what can we say about the big pleasure harbour, where earth, sea and sky, with their natural elements that make up the cosmos, overcome, annihilate and dissolve man’s presence in the world with their grandeur and majesty.

Lastly, we come to the still life paintings which, with their unnatural, very strong and symbolic colours (such as gold and silver backgrounds for instance) are still a metaphor of the human condition. When faced with the beauty of compositions which are so harmonious and beautiful to look at, the eye is both disturbed and attracted by that piece of fruit set to one side, away from the group, as though illuminated or shadowed by a beam of cold, slivery light which bathes it while the other pieces of fruit remain grouped together under a warm, golden and restorative light. The lonely, emarginated fruit becomes symbol of the inner chill inside man, his loneliness and lack of communication with others and with the hustle and bustle of the untouchable and incomprehensible world.

However, amongst all this, there is no sense of the weight of the messages. On the contrary, everything is expressed with naive lightness and softness, in an attitude that combines the research into colour and technique with the awareness that creating art is also a question of touching and working with raw, poor materials like jute and iron. On one hand, it is an art that is soft and refined, almost volatile, being characterised by the use of chalk coverage, gold leaf and extremely delicate lines; on the other it is physically heavy, strongly linked to the land and to the sense of touch, distinguished by the use of materials such as iron and jute, borrowed from the “arte povera” style. From this point of view, it is a very material and textured form of painting.

Perhaps the final message of a more intimate nature that the artists aims to send to us is that the mystery of the world and the cosmos is all here on Earth, in its beauty and indecipherability. This has to be enough for man: admiring how much beauty there is in the world. There isn’t a gateway to escape through to intercept the ultimate sense of life, we’re only passing through and the ultimate sense can only lie in our passage through time.

Lorenzo Campinoti 2010



The artist wants to communicate to us the beauty of things... their sacred reality. So let us all begin here... 

She exalts beauty, not just for its aesthetic content, but to raise it above the material, suspending it in time, so that, its idyll for the nature is revealed step by step, frame by frame. On a journey where “ only those who know how to look” can grasp the mysterious essence which permeates all things:  those revealed and those yet to be revealed. Her subjects show us the way to “living beyond”, but only after we have lingered attentively over these same things; with a glance which seems maybe fleeting and utopian, between seeing and dreaming, but then reveals itself as deeply physical, sweetly tactile.

Roses, sunflowers, parrots, faces.... all these intelligent, pictorial “enlargements”, comes into relief against a gold background, taken out of their context, to be set in a “non place” outside space and time: the bridge, first of all, between retina and heart.... our innermost perception.

The artist seeks here the fusion of a delicate figurative painting with an unrefined material, the dualistic synthesis of twofold essence: emotion and reason.  A union of contrasts which speak to one another.

Behold.... this is the “secret garden” of Gianna Bucelli, “her garden”. Where the unknowable spell comes down from the fingers of an artist to rest on the canvas. The physical becomes dreamlike.... And if she embroiders the jute for our eyes it is to reveal for us the “missing sense”, that of optimistic love.

As depicted in the rendering of a simple rose petal.

Corrado Garofoli 2008




This rounded painting, known as a “tondo” in the ars, is executed with silver paper and bitumen, depicts a tropical group observing us in our “ordinary aquarium”.

A circular painting with relief work in jute fiber transfiguring a “late gothic” adornment or drape and covered in gold leaf which projects the brown tones of the horse’s head in the foreground, the new “neo- Caravaggio medusa”.

Predella depicting a “Shinning Star” in realistic form that naturally seems to unravel itself as it cuts through the confused mass of lines and cobwebs that materialize on its copper sheet support.

 Wood panel entitled “Fiore d’argento” (Silver flower) is of a century old grandfather enclosed in a wire mesh ennobled by silver leaf. This painting places the subject in a kind of no place, an uncontaminated icon within a society that doesn’t want to grow old naturally and whose wrinkles narrate to us his “seven lives” interlaced in the metallic texture of the background.

Square wooden panels which bursting from its amassed colors like lava eruptions, creating a foreground of “living life”.

Gianna Bucelli, in these works each one different than the other, shows an impassioned and strict personal research, free from imitation of tendency, exalting in the research of a titanic synthesis between “materica” and naturalistic painting with iperrealistic connotations.

Hers in an iperrealism derived trough a “sweet” and “poetic” pictorial language, having root in the atmospheres of the ancient florentine figurative noble art, never fearing to research for new expressive potentialities trough materials of  the contemporary poor art.

Vincenzo Giacchi 2006