Silvia Beccaria lives and works in Turin.
She is a visual artist who uses weaving as an expressive medium. After a Bachelor’s degree in Philosophy and a Master’s degree in Art Therapy at the University of Turin, she began a course of study under the guidance of Dutch artist Martha Nieuwenhuijs.
For many years, she developed educational projects using art as a tool for rehabilitation and education and collaborated with the Education Department of the Castello di Rivoli Museum of Contemporary Art.
Silvia’s project comes to life from the sense of the art of weaving, which contains, in its deepest meaning, the concept of writing and storytelling. Weaving is in fact the art of composing a plot just as one does with a pen on a sheet of paper….
The wefts are her colors and brushes; she “paints” with materials that she transforms into weaveable filaments, such as rubber, plastic, paper and so on, those that best, from time to time, allow her to express the concept of the work and “write her story.” The enchantment of nature, the places of memory, the beauty of language and poetry, the connections between weaving and writing become an integral part of her stories created thread by thread giving life to installations that sprout from the canvas.
“The conceptual choice of manuality somehow reconnects her to experiences close to Fiber Art, or to other artists who from the 1960s to the present have identified in the textile medium a way of communication rich in possibilities, but in reality her work takes distance from labels and movements, presenting itself with relevant originality and strength of content” (Silvana Nota)
Silvia realizes installations and sculptures. Her works are in private and public collections including: Garuzzo Foundation, La Castiglia Saluzzo; Civic Collection of Fiber art Trame d’Autore-City of Chieri; Civic Collection of Contemporary Art-City of Moncalieri, Piedmontese Silk Factory Museum, The Spinning Mill-Caraglio.
She has participated in various exhibitions in Italy and abroad, including: Triennale Design Museum (Milan); Palazzo Carignano (Turin); Fondazione Sandretto Re Rebaudengo (Turin); Casina delle Civette-Musei di Villa Torlonia (Rome); Spazio Culturale Ratti-Ex Chiesa di San Francesco (Como); Center for the Arts-Casa Colombo (Jersey City, NJ, USA); Museo delle Mura Aureliane (Rome); Palazzo Collicola-Arti Visive (Spoleto, Perugia); Palazzo Barolo (Turin, Italy); Vila Flor Cultural Center (Guimaraes, Portugal); Museo Antiquarium Parra Oppidum degli Orobi, (Parre, Bergamo, Italy); Misp-Museum of 20th and 21st Century Art (St. Petersburg, Russia); Museo del Setificio Piemontese Il Filatoio (Caraglio, Cuneo, Italy); Convento São Francisco (Coimbra, Portugal).
cotton/linen,paper. Technique: embroidery, size: 28 x 39 cm
Restlessness, insecurity, fragility, bewilderment, uncertainty, dismay, instability, bewilderment, restlessness, suspension, are the words obsessively embroidered on a paper “burned” by the sun…..A paper treated and colored in such a way as to symbolically represent the sunburned earth.
It is a work intended to make people think about how climate change and global warming can give rise not only to a series of dramatic consequences for the environment, but also to psychological discomfort, emotional stress and depressive states.
Nylon, expanded polyethylene, viscose, plastic. Technique: hand weaving. Size: 49 x 45 cm.
The ‘work (in the light and in the dark) is part of large a project entitled Lights at the bottom of the sea that aims to represent the concept of the double of human beings, what we show and what we hide, our exteriority and our interiority. In order to represent it, Silvia immersed herself with her imagination in another dimension, that of the creatures of the seabed that, thanks to the phenomenon of bioluminescence, change the way they appear. Sea plants, diatoms, algae, and sea annelids were freely reinterpreted, giving rise to three-dimensional paintings in which shapes and colors change in the transition from light to darkness: a natural world that made it possible to represent the visible and invisible of our “being.”
Attimi fuggenti (triptych), 2021
Nylon, hand-woven celluloid. Dimensions: 177×56 cm
The artwork traces childhood memories, places, affections, and moments experienced. Photograms imprinted in a corner of memory that recall that thin thread that binds our adult lives to those of childhood time
Ritagli di cultura, 2005
Hand-woven linen, silk, paper. Dimensions: 128×93 cm
A culture torn to shreds, mistreated and symbolically represented by the text on the pages of a newspaper torn to shreds and woven with threads of linen and silk. Words and colors mingle with the fabric, the thought that is lost and trying, like a scream in the air, to be heard.
The work is a reminder that intellectual heritage should not be mortified. Culture is memory and is necessary in order not to forget….