I am Camilla Giannini, but when I draw I am just CAMI.
I create works for walls in search of emotions by pursuing the White Rabbit.
Hi, I am Camilla
I am an artist from Pistoia with a great passion for the fairy tale “Alice in Wonderland”.
It was the pages of this book that brought me to art and unleashed the creativity still unexpressed in me.
I began to fill the blank page of my notebook with pencil strokes and I have not stopped since now.
For my first works I used acrylic painting techniques combined with charcoal, but I am by nature a curious person. I am interested in many mediums of expression, from ink to acrylic, watercolor to charcoal, and almost always I mix more than one process into a single work.
My art exibition Curiouser in Pistoia
My exhibition Curiouser in Pistoia, which is a little medieval town near Florence, in the heart of Tuscany.
During the year 2021 from July 31st to September 12th Pistoia’s Town Hall hosted my first exhibition.
Two years of work, or rather research, led me here.
I entitled it “Curiouser” because it means “Most Strange,” a term that Lewis Carroll’s Alice uses in the second chapter to describe the unusual situation that is happening to her.
“Curiouser” is my personal view on Alice in Wonderland.
The words from the book are written with charcoal on wooden boards and they serve as a backdrop for the drawings of the different characters, made with acrylic paints.
Each character is the answer to a question, to a curiosity, about that inner world that each of us has and that I am exploring by myself.
About 50 tales on display have accompanied visitors in that parallel world, in that “Wonderland”, which, at the and, become more mine than Alice’s.
I introduce you “Curiouser”
Reviews about my works
“In the variegated, lively and out of time thickness of the fairy tale, Camilla inserts herself through her naïveté, even technical, as self-taught precisely. She is able to create within a panorama so rich, her own fairy tale world where to let the imagination run wild.
On simple boards of plywood not prepared, she began to report, through a deliberately naive calligraphy, from “elementary school”, phrases and stories that had struck her of the tale.
On these backgrounds made through her writing, which thickens in an obsessive and rampant way, is inserted in the first place the figure of Alice and then those of many of the characters that crowd the fantastic universe of Carroll and perhaps ours.
A work of over two years, made with the insistent use of pencil and rarefied colors, which emerge, punctuate, sample the space and that even when they expand on the table are always regulated and set by the drawing.
Camilla’s sign is lively and vibrant and sometimes defining broad lines. Very often she comes instead to describe the smallest details of the fairy tale figures, that each of us, being the history and the images so popularized in time, knows and recognizes, identifying in some way in the madness of such characters.
Camilla through these tables gives us back her own vision of a world drawn in color. A myriad of ideas, suggestions, images, sometimes shouted, other times only whispered and elusive, come to us through her crazy and imaginative strength. Her interpretation of the Fairy Tale, and not only that of Alice, makes her the exegete of a story, which in some way narrates the existence of each one of us, giving us through her stubborn and drawn work the glow of a light.”
– Andrea Alibrandi
“The first impression I had, when I saw Camilla Giannini’s paintings for the first time, was that of estranging myself from everyday life and immersing myself in another world. A visionary world, pleasant, fairy-tale, far from the real problems.
This pictorial genre drags you inside, puts you in direct contact with a different reality, the result of the artist’s imagination and dream. Her figures, even if sometimes referable to the real, have something magical in the look, in the pose, in the environment, in which they are depicted and dislocated. Academicism is far away, abandoned, indeed it has never been taken into consideration: the artist deliberately refers to his own thoughts, to his fantasy, to his dreamlike visions. I would venture to say that her painting is the result of a dialogue with her inner movements and the expression that emerges is original, clean, genuine.
I am reminded of those naïve painters of the ’70s, the famous Yugoslavian naïfs, who, drew for their works from real life. They were able, through their way of painting, to create very pleasant works of art, rich in colors. They painted about rural scenes and simple life of the peasants, using a particular representation, subjective, free, not taking into account the academic rules.
Camilla adopts the same process, but goes beyond the mere didactic representation or the pure visual pleasure. Elaborating the subjects, she makes them her own by transforming them until she obtains a transfiguration that creates beautiful works, which are to all intents and purposes the mirror of her soul.”
– Matteo Pompilio
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