The work of Silvana Chiozza brings together two different contexts, not only from a geographical point of view but also from a cultural one, due to a mix of biographical roots: Italy and Latin America- which in her case is represented by the vibrant Argentina.
A sort of two faceted existentialism which finds its origins in the many and frequent trips that the artist undertakes throughout the year.

Her quest for new realities and places has brought her to discover a ‘place of the soul’, a precise geographical area which is well known and loved in Italy and also abroad, being the Val d’Orcia which Is a privileged corner of Lower Tuscany that lies between the gentle hills of Mount Amiata and Lake Trasimeno in Umbria; and then the senese Crete above with more small lakes, rivers and streams: the Fiora and the Paglia, the Rigo and the Orcia. The centre of this ‘place of the soul’ finds itself in Cetona a well known town which exudes harmony and peace-a favourite among artists.
This environment has inspired our artist with stimuli and suggestions.

Nevertheless, it is not completely true that her work is generated on Tuscan soil, it would be unjust to say so. A large part of the work (in this case, the figurative paintings) and the life of Chiozza is dedicated to Rome and its monuments. This is her favourite city and this is where she has decided to live (when she is not in the native Buenos Aires or touring the world). But it is in the enchanting Tuscan countryside which has been looked after and treasured by its proud inhabitants for centuries, just like a very beloved spouse, that the artist finds compensation and integration for excess history and civilization which comes with city life.

But there are other sources of growing visual inspiration like for example The fascinating iced lake in Central Park, a favourite subject of many Paintings.

The abstract works of Silvana Chiozza are not an alternative way of painting , running parallel to the figurative style: it is a spontaneous evolution searching deeper into the expressive language in the process of acquiring more freedom and following the perception of different Vibrations.
These works are the result of proficiency and a different set of stimuli and discoveries by following the paths of the great masters, like the romantic and dreamy abstraction Mark Rothko in which Silvana Chiozza plays with the reds, ochre, beiges and grey of her Tuscan paintings in a synthetic manner.

The particular way in which the colour is applied on the base of the canvas, in an extremely careful manner, creates a pattern and reveals a distinctive technique. In this cases the landscape is not mental or coldly abstract showing Chiozza’s dislike for rigid geometrical design.
If any traces of the latter style were to be found, it would be closer to an expressionist vein, pulsating inside and kept at bay until now.

After having painted for so long, Silvana Chiozza says, I have learned a fundamental lesson: what counts is not what we paint but how we paint it.
The image, more than the subject of the painting, becomes a linguistic Instrument.

Rome, March 2019

traslated from italian by Laura Blanco
leab@yahoo.it