LEX ITALICA

In Stefania Vichi's work, the Combustioni cycle begun by Alberto Burri towards the end of the 1950s seems to be reborn, under a new material consistency.

Both born in Città di Castello, Burri and Vichi share not only a geographical origin but also an intellectual outlook. In this sense, it's fair to say that Stefania Vichi's work has been influenced by Burri's legacy: a legacy gathered, assimilated, and reinterpreted with originality.

Stefania Vichi's artistic research is profoundly influenced not only by contemporary artistic heritage, but also by ancient art; her Lex Italica are drapes that traverse time and space like solidified fluid masses.

Drapery has always been a central element in the artistic research of painters and sculptors. Since ancient times, the representation of mass and folds has played a fundamental role in sculpture, spanning periods such as the Renaissance and Baroque, where it reached extremely high levels of expression.

Stefania Vichi's work follows this path, bringing together with originality the past and contemporary legacy of the great artistic tradition.
In her wall sculptures, drapery is no longer just clothing or ornamentation: it transforms into a metaphor, a labyrinth of shapes that convey complexity and possible ways out.

Lex Italica is the paradigm of Italy: an expression of its culture, of its extraordinary capacity to generate problems, but also to solve them with ingenuity, creativity, and courage.
It is a tribute to the art of navigating chaos, finding solutions in complexity, transforming every obstacle into an opportunity.
Lex Italica is Commedia dell'Arte, it is Leonardo da Vinci, it is Enzo Ferrari: improvisation, creativity, design and innovation.
But it also reflects our limitations: frivolity, superficiality, and lack of rigor.
In this dual soul, between genius and disorder, between beauty and contradiction, Lex Italica fully reflects the character of our "Bel Paese".