Nasce come un gioco la sua passione artistica facilitata anche da un inserimento in giovane età in un ambiente molto stimolante, a soli sei anni stringe amicizia con il pittore Nino De Valier che, a poco a poco, fa crescere in lei quel desiderio di andare oltre la materia della tela. Frequenta il liceo Artistico Santa Caterina di Treviso, e dopo un corso biennale, diventa restauratrice di dipinti su tela e affreschi. Grazie ad un altro amico, Aurelio De Meo, a 17 anni intraprende quella che in seguito diventerà una florida e ricca carriera artistica, risultando simpatica alla critica e ben nota nell’ambiente artistico della Marca.
Incontra colleghi pittori e stringe amicizia con uno scultore trevisano con il quale collabora alla realizzazione di decori e piccoli restauri in alcune ville prestigiose della Marca e, a Desenzano sul Garda, si diverte inoltre nella realizzazione di particolari decori sul cuoio apprezzati sulla piazza veneziana ed europea. Porta le sue tele in diverse realtà espositive, ripercorre le strade di Treviso esponendo in diversi locali caratteristici come il prestigioso museo di Casa dei Carraresi. Colleziona collettive in tutta Italia fino ad approdare nella splendida vetrina turca di Istanbul. Predilige la tecnica mista su tela, anche se il suo sogno un giorno è quello di trascinare fuori dalle tele le sue donne. Non dipinge i volti, perché non vuole attirare l’attenzione sul particolare, ma vuole portare l’osservatore ad una visione complessiva della sua opera, lasciandolo libero di interpretare le emozioni che trapelano dalle sue tele.
“Painting is a very strong emotion that has been a part of myself since I was a child. Year after year I tried to express the sensations I had during my growth through colours. I paint when I am happy, when I wish to express myself, when I dream, when I cry. I approached painting only at the age of six, for fun, thanks to a neighbor artist. I’ve learnt to draw using just the cold tip of a pencil.
After obtaining a diploma from the Art School in 2001, I practised “drawing without drawing” trying to put into practice the teaching of my figure teacher Uberto Rotondo: drawing through emotions what my eyes saw, without dwelling upon line but throwing myself violently on the canvas.
With age I have had to make several artistic choices, and I still feel like choosing new paths to be followed without constraints or ready-made patterns.
I am unconventional. I like experimentation and the “Crisalidi” represent almost the whole of Claudia Rossetti.
I pass from ethereal figures to ‘fantarealistic’ landscapes very quickly, creating a range of various works”.
Her first exhibition chance arrives at the early age of seventeen from a member of the Catholic Association U.C.A.I. who engages her in a collective exhibition at the Baptistery of Treviso cathedral. The rigorously iconographic work represents the artist’s only attempt of religious art. It was created the night before the planned gallery opening. Her speed in painting becomes a dominant characteristic in Claudia’s modus operandi. Colour is the undisputed master of all Rossetti’s works but she pays particular attention also to black-and-white drawings which make a very rich strand of projects based on the linearity of sign.
Out of these drawings in 2015 emerges the idea of writing her first book “Liberamente libero la mente” (Freely I free my mind), a collection including a four-handed work with her artist friend Mirco Venzo on the basis of drawings realized in various moments of the same year.
With Stefano Bergamin she is the founder of the free artists company “Artescalza”, founded in 2014, with which she proposes events linked to the world of art and various artistic performances.
In 2015 she begins her process of performing artist, producing works accompanied by musicians, actors and singers. It is relevant her first theatrical work proposed at Vazzola “Il tempo di una caraffa di vino, possibilmente Raboso” (The time of a pitcher of wine, possibly Raboso), a mixture of considerations on art proposed by playing with the scepticism and the incapacity of understanding its meaning which characterizes most of the public. In this project she engages several artists coming from quite different experiences from hers: Sergio Serraiotto, Franco De Mas, Evelyn Tognazzi and Valerio Pavan.
It is very important the collaboration with her singer friend Massimo Francescon for whom she illustrates his new album “Cuore Nero” (black heart) with her black-and-white drawings.
In 2016, twelve years after the first edition, she is present at Longarone Fiere with Franco Fonzo’s Web Art Gallery. In the same year she also releases her second publication “Il catalogo degli artisti scalzi” (The catalogue of the scalzi artists) in which she deepens her idea of free artistic expression, coming to the conclusion of creating a real art gym where every day she practises the various expressions of fine arts, including poetry, drama and later also singing.
In April 2017 she brings to her town the first art fair dedicated to the artistic movement “Fantarealismo” of which she has been a supporter in recent years, being friends with the creator of this new artistic and social philosophy Valter Milanato.
The fair, held in four days and organized in collaboration with Basso Group, promoted over sixty artists coming from different Venetian areas. On that occasion she organizes collateral events: a concert of singer songwriter Giorgio Barbarotta, a contest of eastern dances with the “Ya banat” dance group and the flamenco dancers “Suenos Y Son”, an evening of jazz music with her friend Ivan Biasi, doublebass player of the Giazzati 4ET and, in conclusion, a concert with the Aradya, a celtic band from Noale.
During the fair, she brings on the stage two performances: one directed by Vilfred Elio Moneta based on an idea by the artist Evelyn Tognazzi, the other one carried out by two members of the artistic company, Stefano Bergamin and the dancer Mayra Ines Bruni.
Moreover Claudia engages in promoting initiatives for the world of children, bringing to Treviso in 2016 a first project for the Guinness book called “Km per l’infanzia” (One Kilometer for Childhood), 1,400 meters of sheets painted by children with their hands and feet (feet art), a message against child abuse.
Then in 2017 she brings still to Treviso the “Tondo Giro” in favour of children’s rights. The project is formed by 2,500 small 20*20 centimeters canvases painted by children. That becomes an itinerant project which is travelling to many Venetian squares but is being requested also by other Italian regions.
In June 2017 with a small group of ten scalzi artists she takes part in the International Art Exhibition at Jesolo organized by the association Rosso Veneziano of Maestro d’Arte Bruno Lucatello with whom in August she is engaged in a new collective exhibition in the heart of Florence.
Thanks to this collaboration she succeeds in bringing on the stage a new performance, “Hands Off”, involving quite a number of her artistic company’s members and friend artists. Even this prject is dedicated to the world of childhood and another strong message against child abuse as well as a clear example of great collaboration and friendship between artists so different from each other.
Over the last few months, with the help of her friend Stefano Bergamin, she has been presenting a radio programme on Radio Gamma 5, obviously called “Artescalza”. Claudia starts her artistic path choosing to use acrylic colours diluted on linen panels, realizing a project dedicated to her artistic research on human figure. She is particularly interested in female nude which becomes soon simplified to a game of abstract curves. She does not paint faces because she is not interested in the study of details but wants to transform the anatomical physicality into an almost ethereal dimension. The artist often changes the supports of her paintings, passing from canvases to panels or wooden supports, working also on limestone, leather and fabric. She paints only eight canvases with oil colours, as she prefers the fast drying acrylics. These eight works are also her only landscapes chosen from the pictures of a trip to Tuscany.
Her daughter’s birth in 2010 leads her to choose a palette of colours with brighter and more definite shades which induces her to create in her works some stories represented by images of figures mostly in profile. From that moment on in her canvases one can clearly read an auto-biographical research.
Her father’s death, three years later drives her to choose, in addition to an already rich palette, a more complex key to interpretation, this time adding completely different geometries and spatiality.
Her main concern is to communicate to the world her contrasting feelings in relation to her maternal joy and to her sadness even more dismal because of the loss in her family.
Being decided to evolve and to look for different and challenging directions, her contamination with other artists and her engagement in organizing art events lead her to go beyond the canvas, to propose to her public a new key of interpretation also through poetry and drama. So she tries to bring life to her works through the richness of her inner nature.