Giosetta Fioroni

Born in Rome in 1932 by a family of artists (her father Mario was a sculptor, the marionette mother). Her grandfather pharmacist who loved to surround himself with poets, including the poet Vincenzo Cardarelli.

She studied at the Academy of Fine Arts in Rome, where she was a student of Toti Scialoja. Throughout her artistic journey she seems to hold the emotional tone of childhood rooted in the very substance of being a woman.

She exhibited at the VII Quadrennial of Rome in 1955. In 1956 she worked as a costume designer for the nascent Italian television. In the same year she began attending the Piazza del Popolo School with Tano Festa, Mario Schifano and Franco Angeli. She is invited to the XXVIII Venice Biennale, where she meets Cy Twombly, Emilio Vedova, the writer Germano Lombardi. He attended the artistic environment linked to the La Tartaruga Gallery by Plinio De Martiis in Rome. He spent a period in Paris (between 1958 and 1962). In a solo show in 1961 at the Tartaruga with Umberto Bignardi he began to exhibit canvases made with industrial colors, aluminum and gold, bearing signs, writings, symbols, overlapping and erased. He attended the Verri group and the 63 Group. Since the early sixties she has been working with photographs projected on canvas, of which she outlines with brushes, using industrial colors. The most used color is aluminum, which Fioroni calls silver, thus beginning its famous silver, canvases that represent various subjects, but above all women.

From 1964 she became partner of Goffredo Parise; will remain at his side until 1986, the year of the death of the Venetian writer. In 1967 she exhibited some silverware at the Galleria del Naviglio in Milan. Revisits works from the past: Botticelli, Carpaccio, Simone Martini. In 1968 he inaugurated the exhibition The theater of exhibitions at the Tartaruga with an action entitled The optical spy then presented again at the Rome Quadriennale in 1973. In 1969 he produced the first theater, a "toy for adults", painted wooden theater boxes offered to absent children: through a lens you can look inside an assembly of miniaturized objects, almost the search for a lost world. From 1969 he approaches the world of fairytales and legend, thanks to the reading of Vladimir Jakovlevič Propp's work: canvases, boxes and theaters open to the world of personal and collective memory. Throughout his life she has collaborated with writers and poets (Arbasino, Balestrini, Ceronetti, Zanzotto). In 1990, the National Institute for Graphics in Rome set up an anthology with her works on paper. At the Venice Biennale in 1993 she was present with a personal room and in the same year he began working with ceramics.

The history of Giosetta Fioroni's works becomes the history of worlds, peoples and civilizations. Giosetta, whose work is commonly placed within Italian Pop Art, unlike Andy Warhol compares two worlds, the society of costumes and the fairy tale, the cultural industry and the world of the goblins of the earth and the games of the childhood. What for Warhol is true for Giosetta is a representation, a show with which to forge an affectionate relationship.