Alessandra was born in Negrar, a country in the Valpolicella, Verona, Italy, in 1980.
Over the years, she developed an introvert, contradictory and troubled charachter and her growing needed to communicate her dreams, visions and feelings through drawing rather than through her social life.
In 2001 she moved to Milan, where she studied drawing through painting at the “Higher Institute of Illustration” of Milan, where the turning point in her life happened.
The Master Achille Picco, her teacher, once noticed her ability, took her away from the world of illustration and he privately introduced her to painting.
Under the supervision of her Master Picco, the artist walks her path of research, that leads her to a “human” growing, besides improving her mature technology, connecting her passionate conception of realism and her desire to capture the signs that each person carries beneath her skin, exposing every thought, to her ability to control colors and features, becoming a ripe mediator between reality, canvas and her inner feelings.
We find the results of this maturity in thousand shades of Alexandra’s works.
Since her early works, her style clarly emerges: dark atmosphere, soft colors.
Her still lifes underline her attention to life’s decline. Her pictorial endowment manifests itself in the evocation of her subjects’ behaviour, emphasized by the light of pathos.
The color is the genuine protagonist as it unveils feelings that embrace a life of sufferings and sweetness, solitude and happiness.
The emotional quality of her painting, characterized by instinctive, thoug balanced, brush strockes (as the artist herself) is to be found in the details of her works.
Through glaze she expresses her realistic and neo-romantic vision of painting.
She is on a palpable quest for shape, manifested by the almost real volumetric quality of her subjects: it feels like she is carving the sheet with her pencil, using it as a chisel.
Her subjects’ faces do not hide mysteries; they rather remain contained within their own life of which the artist steals some instants with imperinent curiosity.
Alessandra Sempreboni outlines a life path that draws directly from her childhood, surrounded by the countryside of Verona in Italy; since her most tender age, she felt a deep connection with nature.
The “nature” is a pejorative term which, however, contains the existence of the artist; it focuses on the character of this tormented soul. A very deep connection with the planet and its creatures.
In her paintings a psychological research and her intimate ties with every form of life issue, both in her artistic path and in her daily life; although there are surreal settings, portraits with dreamy and edenic atmospheres, we note that the human being melts into a love relationship between the planet and its creatures, this is how we can define the style of Alexandra’s life, a visceral involvement in her symbiotic relationship with all forms of life.
Her artistic life is divided between painting and education of young artists through her teaching, painting and drawing.
A life that grows and evolves in a small study (subterranian), a niche far away from the noise, far away from the daily lives of people, with her loyal dog at her side that never leaves.
The poetic painting of Alessandra Sempreboni: Between Naturalism and Romanticism
Technical valuable and elegance tract characterize the painting of this artist from Verona, native in Negrar; as a child Alessandra Sempreboni was attracted by the nature of the Valpolicella far as to represent it on her paintings.
The relationship between man and nature has always been synonymous with the quest for more and more precise and accurate interpretation of the world around us.
The new artistic theme of her works in fact and the experience gained with her previous activity is the harmonious blend of all “living creatures and Mother Nature.”
After having been for years dead natures, animals and portraits of people with all techniques, from graphite to charcoal, from pastels to oil painting, the artist comes to the symbolic evolution of nature in the environment.
Thanks to the studies carried out to “Higher Institute of Illustration” of Milan and the pictorial experience made with her teacher and her mentor Achille Picco, comes with skill and professionalism to her personal poetry.
The choice of representing the human being and the nature of the environment is emblematic: the experience of displacement, the research of our universe still concealed themselves.
For this Alessandra Sempreboni examines all sizes both historical and contemporary mythology to convey her message to the world:
“Love and respect the land that always gives us what we need in our lives. See how nature reaches out to us to communicate without attacking us, but to protect us as her children.”
Alessandra Sempreboni chooses to represent timeless scenes vivifying them in an unnatural light belonging to another dimension.
This light that shines and sing the colors is the soul of the paintings. The symbol of the search for an inner energy is the main component of a personal style.
What the artist calls her intimate.
Choice aimed to convey her message to all contemporary and future generations.
Penetrate into the memory of the observer to get a feeling for nature and purposeful every living form. She reconstructs the past of man in the nature going down memory lane for the salvation of both.
If the concept of the symbolic representation of the union between living things and the environment is set, it follows the choice of expressing cross large format pigment and bright, full of energy.
In addition to the aesthetic liking they induce a significant idealization of the scenes and subjects.
Through the LAYERS OF GLAZINGS TECHNIQUE she expresses a realistic and neo-romantic painting.
What we have here is thus a kind of nature dream, moralized and so that to be dominated not by the law of the strongest, but by a harmonious coexistence among men.
Respect for man end in itself is extended to all living creatures in nature.
It is therefore an edenic nature, tempered and peaceful, but that does not mean that dream and fairy tale scenes in a landscape of strong affinity with Romanticism always tell us to.