Vianne was born in Iran in 1979, the year of the revolution that changed the destiny of the nation. As a young girl, she had already experienced war and many separations and lived in different places. She and her parents moved to the Netherlands, and as an adult she continued her studies in Paris, where she completed a degree in Economics and Sociology and worked for many years on various international banking exchanges before becoming a professional artist.
Vianne started drawing at an early age and has maintained her style of depicting human figures with character, faceless and bald. Her use of bright, bold colors, exaggerated shapes and lines, and expressionism make her art a crossroads of trends and decorative arts, driving the viewer's curiosity on both a psychological and intellectual level. Vianne Savoli's solo exhibition “Skirts and Beards”, presented by Amanda Wei Gallery, focuses on a series of her recent works.
Skirts represent the soft side of women, while beards often symbolize the toughness of men. This exhibition presents an aesthetic that combines softness and strength with strength. In Vianne's paintings, women and men surround each other and reflect each other, and even when there are only male or female characters in the paintings, the other gender often appears in some form or hint inside and outside the frame. This Iranian female artist does not hesitate to intervene in reality, as a result, her paintings are rich in strong metaphors, with elements of resistance and irony.
Inspired by opera, literature, cinema, geopolitics, dreams and everyday life, Vianne paints a different dramatic scene on each canvas, expressing a story through its layout and details, with most of the female figures mocking patriarchal society in the mold of the Greek goddess Aphrodite. In fact, Vianne also resembles a Greek poetess. Metaphors were a common technique used by ancient Greek poets, and Vianne's art is full of them. Apples, telephones, and faceless people are her signature metaphorical elements. The apple represents the eternal sin committed by Eve in the Garden of Eden, such as Rigoletto II; the telephone points to a kind of unfinished business, a connection between the characters in her paintings and reality, full of tension and suspense, such as Glass Ceiling; and the faceless person fills almost all of her paintings, these vague and plausible characters are sometimes the representatives of patriarchal class, such as Gentlemen's Club, and sometimes symbolize the concept of anonymous celebrities, such as Goodbye Scarlet Coat, Vianne's unique artistic style is reflected in all of them
