Chris Rocchegiani’s artistic practice is characterized by the simultaneous presence of several styles and executive solutions, referring to different pictorial modes. In her canvases, in fact, we recognize sections of differing natures. There are gestural and informal parts, characterized by the predominance of signs and action. There are aniconic areas of pure colour, tending towards more lyrical aspects. There are episodes where frugal, synthetic figuration is suggested, where elements on the canvas seem scraps of a reality reconstructed through essentially mnemonic means. The artist’s work is therefore based on a multiple, discontinuous and metamorphic language, differing linguistically from the more usual pictorial forms, which are based on a monolithic sense of identity. For Rocchegiani, in fact, painting is the exercise of intimate liberty, a tormented inquiry that, while plunging forward in a clear, programmed direction, also anarchically allows retreat, re-examination, dissipation, polyhedral development, contradiction and zigzagging. Her canvases are thus fields of possibilities, of uncertainties that are overcome but which may reappear, of colour that is present but may lead to second thoughts. There are so many real or potential paintings to be stratified on the surface, all coexisting in a state of continual tension. Observers must exercise themselves by recomposing and re-stitching it all to grasp the words whispered on the canvas by the elements.