Born in 1985 Rome, Italy.
Morgana - Masked in Captivity - The Alchemist’s Garden
Savina Capecci, painter and Art professor, lives in Pordenone, Italy. After graduating in International Economics in Trieste, she obtained her MFA in Visual Arts with specialization in Painting at the Academy of Fine Arts in Venice in 2017. Her works have been exhibited both in Italy and internationally (Germany, Poland, Austria, Malta) especially as a finalist in several artistic awards including Mestre Painting Prize, Malamegi Lab Prize Venice, EneganArt Florence, Dario Mulitsch Painting Competition Gorizia, Catel Prize Rome , Cairo Mondadori Art Prize Milan, Fresh Legs Berlin. In 2023 her participation in the Mdina Contemporay Art Biennale, Cathedral Museum, Malta with the artistic direction of G.Schembri Bonaci.
Solo exhibitions:
2024 upcoming: 13-28 Jan. "Private Stage", Casa del Musichiere, Moriago della Battaglia
(Tv), curated by L.Gava
8 Aug - 29 Sept. ZUGanglicheKUNST gallery, Portschach am Worthersee, Austria
2023 "Dancing with uncertainties" Palazzo Ragazzoni, Sacile curated by F. Dell'Agnese
2020 "The Alchemists"Garden , Zenari Civic Museum of Natural History, Pordenone,
curated by F. Dell'Agnese.
2017 "Transgenic Attack", two-person show, Atelier der Stadt, Klagenfurt
MORGANA
The back wall, even if you draw against it the reassuring profile of the headboard, it seems to project the girls and their bed in an unfathomable breath of face powder. The mirage of a sky, perhaps; the empty imprint of a future.
On the other hand, in this enchanted room everything multiplies and loses substance: the feet - too many - the bodies, the rings that we imagine wrap them with fabric, but which - one on top of the other like geological layers - freeze shapes of a woman under our eyes. We are lost on the ambiguous horizon of a Fata Morgana, and the symmetrical gesture of the female hands - stretched out with equal naturalness to grasp the concrete and the surreal between her fingers-stuns us in her hypnotic silence. The illusion of floating in other dimensions, even in the digital age, can be deposited on the canvas with an archaic brush.
MASKED IN CAPTIVITY
Even for today she won't swim… The fin on her foot, languidly worn like a glass slipper, will not be of use to the girl either for the gala dance or for returning to the water. They are only dreams, to be had with open eyes and with the mask on, because the suspended time that the girl is experiencing still reserves for her a strange wait outside from her element, sealed in a bubble of golden and silent air. The reality, in which she would like to re-immerse herself, remains on the other end of the tube, with its scents and her noises.
THE ALCHEMISTS' GARDEN
The Garden of the Alchemists has as its pivot the flowering of infinite corollas on the fabric of a dress, whose sinuous swarming sometimes turns into a dense lattice geometric. They almost look like two different dresses, just as the women wrapped in that dress appear two different. But in an alchemical context, devoted to transformation, the concrete data always escapes normality: the anatomy of the girls - like the volumes of the stools/chairs that surround them – remains ambiguous and among the flowers there are some, tripetal ones, which when observed up close reveal the radioactive soul of a danger signal.