The sculpture of Anna Chiara Spellini tells many stories. Stories that have history, emotion and above all, love, embedded in its surfaces and contours. She creates works in bronze and marble. Everything she makes she begins with by hand; and finishes once again, by hand. The process allows for a journey of her thoughts and ideas to flow freely in exchange with her forms. She starts by shaping all her works in clay, after which a model is extracted using conventional methods of mould making. With these moulds and measurements, a final sculpture is revealed, ultimately cast in bronze or hewn from marble, in various sizes and dimensions.


A handful of abstract works remind us of the shapes in life and in nature; while her representational works reflect on human figures and expressions, keenly observed, sensitively emergent.


Born in the north of Italy in 1945 near the close of the Second World War, Anna Chiara Spellini grew up in a family of intellectuals and art lovers. Much of her youth was spent in the many magnificent churches, cathedrals and coveted Italian repositories of art, much of which had emerged during the period known as the Renaissance in Italy. This period is often regarded as the height of artistic achievement particularly because of the artistic and scientific melding of hard skills, craft, imagination and humanism within one epoch. Exposed to the art of that time and the many wonders of the following centuries in Italian and European art as well as architecture, Anna Chiara Spellini continues to be spellbound and inspired by her heritage and the origins of her craft.


Since 1996, Anna has travelled regularly to Singapore and parts of Asia. Her sojourns have revived different inspirations concerning nature, people and the environment. She enjoys observing the world around her, sensitive to the nuances of human expression and the emotive tenor of cities and the landscape. In private commissions, her portraits extract humbling, hitherto unspoken characteristics of sitters, transforming possibly one or two features into the totality of someone who has lived with many stories to tell. Indeed, this is what makes her figures and faces so compelling: their uncanny and easily accessible truthfulness to personality, intimacy and experience.


The world beyond nature invites an expansion of Anna’s works into abstract lines and forms. Her travels to Asia especially, dominated by the urban jungle as well as civilization so unlike her own heritage allows for new expressions to emerge. The abstract works of Anna Chiara Spellini have their foundation in recognizable forms: geometry, living things of plants, animals and figures. Many of these ideas become translated to a movement of line defining the abstract forms, allowing our own imagination to become a part of the artwork that is already a part of the artist, Anna Chiara Spellini. This experiential union best describes the attractiveness and tide of feelings embedded in all of Anna’s sculpture. To encounter Anna’s sculpture is to invite the work into your own personal history and life. From there, the stories that reside take shape along the elemental lines of a face, a figure, a form. Moving ever so surely, in ways only that particular moment of such encounter, can speak of.