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Diane Zuccharetti
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Short Bio
Diane Zuccheretti is a self-taught painter born in Paris in 1989. Against backgrounds of skies, between astral depth and ethereal floating, Diane Zuccheretti imposes herself as an explorer of the soul. After a classical training, Diane freed herself from conventions and codes to explore alternative paths, free to get lost, to unlearn in order to better receive from painting those moments of grace that only a perfectly innocent approach allows.
Coming from a family of antique dealers, she touched the history of the fingertips in childhood before participating in the restoration of numerous paintings alongside painters and restorers José Ostrelia and Jorge Olivera. It is notably this activity that enriched her technique and precision by letting the traits of past masters guide her brushes. Bringing the past to life to close the loop of time like a Möbius ring. And to go pick in the limbo the pieces of history that are written every day in every face, thus defines the vocation of Diane Zuccheretti.
Diane Zuccheretti is a self-taught painter born in Paris in 1989. Against backgrounds of skies, between astral depth and ethereal floating, Diane Zuccheretti imposes herself as an explorer of the soul. After a classical training, Diane freed herself from conventions and codes to explore alternative paths, free to get lost, to unlearn in order to better receive from painting those moments of grace that only a perfectly innocent approach allows.
Coming from a family of antique dealers, she touched the history of the fingertips in childhood before participating in the restoration of numerous paintings alongside painters and restorers José Ostrelia and Jorge Olivera. It is notably this activity that enriched her technique and precision by letting the traits of past masters guide her brushes. Bringing the past to life to close the loop of time like a Möbius ring. And to go pick in the limbo the pieces of history that are written every day in every face, thus defines the vocation of Diane Zuccheretti.
Artist Statement
Just as Wassily Kandinsky associated colors with emotions and sounds in his works, I believe in the hidden colors of souls that I try to restore to the faces of their owners. So that each one can reclaim their lines, lines of life, guiding lines, lines of perspective, lines of destiny, I piece together the fragments gathered along the way.
Through my encounters, I gather the small pieces of self that everyone leaves behind in their wake, and I assemble them on a background of colors inspired by the person's aura. Thus, I transpose for all to see what might go unnoticed behind our everyday masks.
These reliefs, I gather them in a stolen glance, a forced smile, words that want to say something else, and I delicately reassemble them on the nuances that will serve as their setting.
I always start with colors because it's what I capture first. They correspond to the aura that surrounds the person. When this vague halo is set, then I can carefully place the face there like a jeweler arranging diamonds on a velvet tray.
The lines intersect but rarely meet because humans are unfinished stories that it is not for me to conclude, just to tell in a moment seized on the fly.
Just as Wassily Kandinsky associated colors with emotions and sounds in his works, I believe in the hidden colors of souls that I try to restore to the faces of their owners. So that each one can reclaim their lines, lines of life, guiding lines, lines of perspective, lines of destiny, I piece together the fragments gathered along the way.
Through my encounters, I gather the small pieces of self that everyone leaves behind in their wake, and I assemble them on a background of colors inspired by the person's aura. Thus, I transpose for all to see what might go unnoticed behind our everyday masks.
These reliefs, I gather them in a stolen glance, a forced smile, words that want to say something else, and I delicately reassemble them on the nuances that will serve as their setting.
I always start with colors because it's what I capture first. They correspond to the aura that surrounds the person. When this vague halo is set, then I can carefully place the face there like a jeweler arranging diamonds on a velvet tray.
The lines intersect but rarely meet because humans are unfinished stories that it is not for me to conclude, just to tell in a moment seized on the fly.