Art The intense and abstract art by Rachele Amadori

The intense and abstract art by Rachele Amadori

Giulia Guido
Rachele Amadori

An outlet, a cure, a way to express herself, this is what art represents for Rachele Amadori

Rachele is an Italian illustrator and artist with a particular story, marked by obstacles that have led her to approach art in a unique way. From her stuttering problems to her brother’s problems, to the volunteer experiences that led her to move away from Cinisello Balsamo, where she was born, and live most of her life travelling around Italy. 

In different ways and with different intensities, art, as Rachele herself tells us, has always been part of her life. In recent years, however, she has dedicated herself to it full-time, body and soul, and the results were immediately apparent: Rachele won the Pittura Astratta prize at the Bauhaus Gallery in Rome and will be exhibiting in Barcelona next June at the Valid World Hall Gallery for the exhibition ‘Barcelona Contemporary 2021’. 

We were lucky enough to ask her a few questions, don’t miss the interview below, follow Rachele Amadori on Instagram to keep up with her upcoming works and discover the ones on sale in her online shop

Do you remember a particular moment when you realised that art would be part of your life? 

Figurative art was ‘the medium’ with which my mother accompanied me to communicate. Until I was 12 years old, I suffered from stuttering, I felt very uncomfortable, especially in the midst of other adolescents who were looking for their own identity, and I had a somewhat surrendered character as a child, which was then tempered by life. I accepted silence willingly and sometimes took refuge in it. During my uncertain growth I had a very good mother, a painter/drawer as well as a psychomotor therapist, who accompanied me in this figurative-alternative world, centred on getting dirty, on trying to develop a communication that was as coherent as possible with what I felt and thought.

From there I became attached to that world, despite the fact that neither of my parents had pursued their artistic passion in concrete terms, despite being lovers of figurative arts and music.

I studied design at the Politecnico di Milano, developing graphic and digital skills. At the same time, through a path of personal growth undertaken initially to accompany my brother who was diagnosed schizophrenic at the age of 17, I regained possession of that more material and physical world of painting and drawing in adulthood.
It was my lifeline during the 2020 lockdown in Rimini, where I lived for almost 2 years, in a hard time of physical, psychological and emotional pain. I let myself be taken by the hand and accompanied, a bit like Orpheus with Eurydice… with music, painting and dancing. So really, [the art] has always been there. Faithful.

What role has art played and continues to play for you today?

Spiritual is the most appropriate answer.
Over the last few years I have delved into the subject of religions and different forms of spirituality, mainly out of personal curiosity, to ‘give light’ to some feelings I have and which are still looking for a form. Spirituality, which takes shape in a more symbolic code in religions and creeds, is like an art form for the inexplicable, for everything that is part of that invisible sphere, intangible but which we perceive. It is given a form, a suitable dress, colours and ways of being. This is basically what art is for me: it is a form of spirituality. The means by which it is possible to give voice to all that dark world that we live inside, that we perceive around us.

How does one of your artworks start? Tell us about your creative process.

There is no fixed rule on how a work of art is created, sometimes it is the vision of shapes that come together in the views I observe, cut lights, optical effects. These images give rise to a desire to try and take them up, capture them, modify them and put them back into play.
Often by inserting archetypes that have always accompanied me, that communicate for me. At other times I feel very strong emotions and the image is born while I am reworking, while I am doing ‘Sunday cleaning’ inside myself. 
I am a very reflective person, even though I often make decisions on impulse.  I think it is also for this reason that I use different materials, different styles and above all I almost always add a little text to my works, textual parts that complete the message or, as I like to say, ‘channel’ the person looking at an image towards certain energy. I like to write, even though I am not a writer.  I like this cum with the word, even if reading is not compulsory, in fact, many people tell me they prefer not to read so as not to be influenced. 
Everyone is free to follow their own feelings.

Usually, when a painting is delivered, I like to discuss it with the buyer or recipient, not so much on the quality or feedback, but on the emotion, on the reworking.  This is out of personal interest, but above all, because of the problem that affected my brother, I like to get excited with others, to discover the recesses of the human mind and heart.  It is enriching in so many ways.

Rachele Amadori

Three adjectives to define your style.

Metaphorical. I like to draw on archetypes, religions, symbols, meanings, sayings, stories, myths. I like to connect to different knowledge and areas of art and knowledge.

Narrative. I like to bring a story, a tale. I want to take the viewer on a journey.

Mixed. I have not studied in the field of fine arts. As I said, my mum passed down my first weapons to me, and I have studied others at university and in private. Perhaps this is why I have not adhered to a ‘current’ or a ‘style’, but I love to try, to change material, support. I love experimenting.

Is there a work of yours to which you are particularly attached? If so, can you tell us about it?

Like any painter, draughtsman or ‘artist’ (to refer to a more ambiguous category), I am attached to almost all my works because the creative process remains an emotional dynamic. 
But if I had to choose, I would say the first painting I did, entitled ‘Existential Cycle’, which I donated to the psychiatrist at the center that looked after my brother and where I did training and voluntary work for several years. 
This person has been very important in my life, I can say with a devotion that she saved me at a very dark time when I could see no solutions or paths for me and, above all, she spurred me on to resume my art.
And the last one, ‘res divina’, which I feel contains a deep essence of my own.  Paradoxically, it takes up the concept of the first painting (the existential cycle), with the addition of the studies I have made in the spiritual sphere, alchemy, magic, voodoo, Christianity, etc. It is still unpublished and will be exhibited for the first time in Barcelona in June this year for ITSLIQUID. 

Photo credits: Sara Gentile

Written by Giulia Guido
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