About

In Chiara Del Vecchio’s body of work, what is fleeting becomes substance, and what is indistinct finds its voice. With calibrated, masterful gestures, the artist shapes an aesthetic of the imperceptible, where vision becomes an intimate, almost mystical experience, and the pictorial surface transforms into a space of revelation. It is an art that does not reveal itself at first glance, but demands slowness, silence, and surrender.

Her medium—airbrushed acrylic applied with meticulous delicacy—is not merely a means of expression, but a conceptual language. Color, reduced to a fine dust, settles on the canvas like a mnemonic trace on consciousness, as though the painting itself were a form of the breath of memory. It blurs, vibrates, dissolves. Nothing is assertive, and yet everything speaks. Everything pulses. Each portrait, each human figure emerges from an elsewhere that is both collective and deeply personal: faces that do not impose themselves, but reveal themselves as inner apparitions, evoking in the viewer a profound, ancient, and at times ineffable recognition.

Chiara Del Vecchio undertakes what could be described as a poetic-scientific operation. Her painting—visually suspended and conceptually dense—becomes an image of a universe in constant transformation. The bodies she depicts are not fixed entities, but clusters of vibrating energy, never identical to themselves, in perpetual motion. It’s a vision aligned with contemporary interpretations of reality, where matter is instability and perception is an act of continuous redefinition. Her works explore the shapes of identity and vision within the fluid context of our present—an era in which, as Bauman suggests, structures dissolve and definitions soften, making space for existences that are more fluid, more intimate, more true.

It is precisely within this fluidity that a surprising return unfolds—not toward an idealized or lost order, but toward a more inward, more authentic truth. The figures immersed in Del Vecchio’s rarefied atmospheres do not express the loss of self, but rather its rediscovery. Even the literary references—such as the subtle evocation of American Psycho, with its blurred, indistinguishable faces—do not lead to alienation. Instead, they offer a poetic counterpoint to the artist’s gesture: through blurring, she restores to each face an intimate singularity, a soul that pulses beneath the surface. Where society confuses and homogenizes, Del Vecchio separates and distinguishes. Where the present overexposes, the artist veils. And it is precisely within that veil that the possibility of a truer, deeper connection is revealed.

Her art is, in this sense, profoundly humanist. It is an invitation to reconnect, to gather inwardly, to contemplate. Each blur is a threshold, a doorway into a more essential space. Her images do not scream the loss of meaning—they whisper a new form of truth: one that is grasped not through intellect, but through memory, empathy, and attentive presence. A truth that does not impose itself, but allows itself to be inhabited.

Chiara Del Vecchio’s painterly gesture is imbued with silence and presence. Her works are as light as a breath, yet they leave a lasting imprint. They do not illustrate—they evoke. They do not explain—they welcome. In them, the distance between vision and perception dissolves. The viewer is not asked to understand, but to feel. To recognize oneself.

To look at a work by Del Vecchio is to accept the invitation to cross a visual field that resists the logic of definition. In this experience, the gaze does not possess but searches—navigating through layers of transparency, activating a process that is both aesthetic and psychological. The artwork becomes a mirror, not of appearance, but of our innermost self. The face that emerges is not that of another, but a reflection of our own memory—of loved faces, forgotten, rediscovered. The blur is not an absence, but an infinite possibility of presence.

THE TECHNIQUE: THE AIRBRUSH

PRODUCTION STEPS

Her act of painting can be read as a secular, intimate ritual—one that seeks to mend a widespread fracture between being and feeling. Where contemporary art often pursues provocation or deconstruction, Chiara Del Vecchio takes a different, almost countercurrent path: she mends, reassembles, listens. Her paintings hold a quiet spirituality, a meditative essence that invites not escape, but attention. These are images that do not impose interpretations, but generate silence, openings, and thresholds.

There is no nostalgia or disillusionment in the artist’s work. Instead, there is a radical choice to slow down, to restore value to the indistinct, to protect ambiguity as a generative space. Each canvas is an act of care, a visual meditation inviting us to shed the urgency of the visible and reclaim the complexity of feeling. The image does not present itself as truth, but as possibility.

Chiara Del Vecchio’s works are timeless icons, imbued with suspended lyricism. They do not ask to be understood, but to be traversed. They offer themselves as interior rooms where distant emotions, unconscious associations, and fragments of memory resonate—emerging, like from a dream, in contact with the blurred materiality of color. The pictorial space becomes mental space: a quiet, almost dreamlike place where vision becomes tactile experience, and the distance between artwork and viewer is bridged through an invisible gesture of recognition. To recognize not what is seen, but what is felt.

It is an art that defies the frenzy of our time, that celebrates ambiguity, that invites us to remain within the fertile doubt of the undefined. A form of painting that does not fear not-knowing, but inhabits it. That opens thresholds, rather than closing them. In every veil, in every suspended, liquid vibration, there is a tension toward something beyond—and it is precisely this that touches us with unexpected force.

Chiara Del Vecchio offers us an atlas of visions in which the tangible merges with the intangible, and the surface becomes a threshold. Through the dissolution of form, she gives back to us the precious chance to see what often escapes us: the imperceptible vibration of existence—one that moves through us, silently, and makes us, once again, profoundly human.

CV

CLIENTS AND FRIENDS

With a wide range of subjects, from portraits of people to scenes of everyday life, Chiara Del Vecchio boasts collaborations with iconic brands from automotive to the world of fashion, to name a few Ferrari, Alfa Romeo, Calzedonia, and Ferrero. Her paintings are part of important private collections, among her collectors are famous actors and singers. Nominated “artist to watch”, in 2011 she was selected by Vittorio Sgarbi to participate in the 54th Venice International Art Biennale. Another milestone was a moving commemorative painting of the Holy Father, commissioned and donated by the State of San Marino and reproduced on a limited edition postage stamp.

Taking part in group and solo exhibitions, both in international galleries and in art fairs, the Italian artist's works have been exhibited all over the world, from London to New York, Miami, Istanbul, Milan, Moscow, Istanbul, San Francisco, Paris, Monaco, and many others. She currently lives and works between New York and Milan.