In recent times sculpture has been the focus of extraordinary attention especially in Italy.
Public and private exhibitions highlight its intrinsic character, nature and the very sound of the material sculptured items are made of Rachele Bianchi appears to be one of the most interesting figures and, we could say, the most genuine, creative and lively sculptress. She is already known to our readers by way of an article published some time back on her drawings, which increasingly carry the seal of her talent for sculpture. Her exhibition at the Zunino Art gallery, Milan, gloriously directed by Ada Zunino, the tutelary deity of contemporary Italian art, offers us the occasion to speak about her once again. Ten years have now passed since the Milanese sculptress’ activity marked a decided growth with a series of exhibitions, which had a great creative impact and were held in standard centres of Italian art.
The exhibition currently held in Milan helps us experience a perspective that extends to Rachele Bianchi’s recent production and to the commitment she has greatly proved since 1993. The catalogue’s essays, written by leading names in Italian culture, confirm this rich artistic progress. In 2002 the sculptress was awarded the prize for her carrier, the 14th Premio delle Arti - Premio della Cultura held in Milan.
The female universe has always played a relevant role in Rachele Bianchi’s sculpture. She has depicted precious marble, bronze, terracotta and ceramic images that have been defined “gothic” by Luciano Caramel, charged with “reason” by Raffaele De Grada and “wide ranging” by Enzo Fabiani, just to mention a few relevant figures. What are these women Rachele Bianchi has sculptured and what do they represent? Depicted standing or caught while resting a moment, they seem wrapped in a proud spirit, at times regal and at times charged with human sensitivity that can be intensely perceived even on the sculpture’s surface, i.e. the marked geometric corners, the intersecting fascia and the split image of “Grande Simbiosi” [Great Symbiosis], dated 2001 and the final result of her studies. It is a large, 180 cm high, life-size sculpture in gilded bronze.
A one-off item, it awakes intense emotions and captures this matron in her robes with labyrinth-like embroidery on one side and a lamellar language, a sign of unmistakable elegance, on the other. This sculptress’ talent is enriched by her reserved life and mellowed course marked by historically important laps of success both in the private and public sectors.


She has contributed to give this new millennium the strength to still believe in sculpture, a “dead language”. The most attractive and convincing feature in Rachele Bianchi’s sculpture is the logic of balance between the decorative signs and geometries of dressed forms and the disturbing basic bone structure that captures each body’s essential feature. The vision reached by these works by Rachele Bianchi is beautiful to say the least and the mysterious gaze of these women enveloped in perpetual life by time is equally beautiful. Rachele Bianchi, who has authored masterpieces of unmistakable strength, beauty and grace, is a major figure in the Italian world of art. The female myth has once again found a chapter, which has been modelled in relief by a name that now appears in block capitals. (Translated by interpres sas)