In October 1994, in the rooms of the former Woolen Mill Bona in Carignano, Velan will open a personal exhibition by Chiara DYNYS (Mantua, Italy, 1958). Grown up as an artist in the Eighties, Chiara Dynys refuses every idea of style or school to express freely her own reflections about contemporary world by intervening with the language of art. Her first solo exhibitions date back to the early Eighties. At first she worked on figurative paintings, tactile and chromatic thanks to the use of sand. Soon her painting evolved to geometric three-dimensional forms composed in a mathematic order. She uses different kinds of media – resins, wax, pigments, marbles, alabaster, silk, velvet, ceramic, crystal – and through them she manages to create changes and mutations of light and colour. Her creations seem to look for spaces to fill. She formulates allusions secret to language and, following her intuitions, she puts the rituals of society in the centre of her intellectual reflections. The progressive increase in dimensions of her installations during the Nineties and the importance of light, an element indissolubly bound to vision, transform the perception of space and emotionally involve the watcher in the artistic creative process: the contact with the observer becomes thus fundamental, and he often becomes an actor projected into the space of creation. I have often used the world passage to talk about my work, says the artist. In fact what is constant in all my work is a certain sense of crossing. She took part to numerous solo and group exhibitions in important public and private cultural institutions and museums.

Grown up as an artist in the Eighties, Chiara Dynys refuses every idea of style or school to express freely her own reflections about contemporary world by intervening with the language of art. Her first solo exhibitions date back to the early Eighties. At first she worked on figurative paintings, tactile and chromatic thanks to the use of sand. Soon her painting evolved to geometric three-dimensional forms composed in a mathematic order. She uses different kinds of media – resins, wax, pigments, marbles, alabaster, silk, velvet, ceramic, crystal – and through them she manages to create changes and mutations of light and colour. Her creations seem to look for spaces to fill. She formulates allusions secret to language and, following her intuitions, she puts the rituals of society in the centre of her intellectual reflections. The progressive increase in dimensions of her installations during the Nineties and the importance of light, an element indissolubly bound to vision, transform the perception of space and emotionally involve the watcher in the artistic creative process: the contact with the observer becomes thus fundamental, and he often becomes an actor projected into the space of creation. - I have often used the world passage to talk about my work, says the artist. In fact what is constant in all my work is a certain sense of crossing -. She took part to numerous solo and group exhibitions in important public and private cultural institutions and museums.