Starting from 2010, Rachele Bianchi returns to painting, and she does it in a decidedly peculiar way: she photographs the details of one of her characters in bronze - the hands, feet, hair and face, details of the dress - she prints them on paper and over paints in tempera a sort of graphic commentary on his own sculpture.

In 2014 the artist produced a series of abstract paintings on canvas, almost all Untitled: compositions in which geometries and representations of a childish flavor are mixed, made with full and bright colors; some reveal, in the brushstroke, in the composition, in the choice of colors, clear references to the history of art, to the visual investigations of the French and Russian abstractionists of the twentieth century. This is the latest production by Rachele Bianchi who will continue to draw daily especially with crayons, pencil and chalk.

The sixties are those in which the artist, strong from the first experiments in terracotta, begins to create small plaster sculptures which he later melts in bronze: these are works characterized by smooth and rounded shapes, and in which the theme of femininity and motherhood. After all, these are the years in which the artist gives birth to his children - Augusta in 1960 and Giuseppe in 1966 - and it is understandable that this leaves evident traces in his production.

This work ideally intends to close one of the possible exhibition paths.
Rachele realizes this kinetic composition at the beginning of the new millennium and, through her two ghosts that guided her, she tells her idea of “beyond” for the first time. It is also the only female character whose expression seems to convey joy and contentment. The woman is at the same time guided and supported but, in any case, satisfied with the progress made.

Among the most effective and symbolic representations of Rachel's motherhood, this work anticipates many themes in which the artist will be directly involved in the 1960s.
We are the antithesis of the bronze work that opened the exhibition. Here the mother's body is made up of a single block that opens into a cavity that welcomes the child: two small precious and silent monoliths, which emanate the mystery and amazement of the experience of motherhood: unique for the feminine, distorted by the phenomenal .

The impetus of the representation is striking. The arms play a primary role in understanding the sculptural message: they rise regularly beyond the figure as if to raise it.

It is a very important work in the artist's path because it is the last nativity of Rachele Bianchi. A beautiful patinated plaster relief then taken up and made in marble in 1994.

His style hardens, the folds of his clothes become stiff and blade-like, but anatomical details emerge - arms holding cloaks, legs firmly planted in the ground - which previously remained hidden. This is evident in works such as La donna rosa (c.1980)

This work raises, perhaps more than others, questions about the woman depicted. A sort of Ariadne's labyrinthine thread winds around the tubular bronze workmanship. They are interior vortexes that make the female figures evolve and upset.
What intertwining accompanies the woman on the threshold of the new millennium? Is his intent to show, protect or resign himself? It is no coincidence that the model of this work has been replicated other times by the artist, even in monumental form, with the name of Grande Symbiosis (now exhibited at the Columbus nursing home in Milan and at the Italian Cultural Institute of Athens).

The fifties are characterized by a very rich graphic production. These are above all female nudes portrayed in various poses, which the artist says he made from life, sharing the model with a painter friend. These are rarely true portraits: the faces of these women in most cases are only hinted at, empty ovals, if not cut from the edge of the sheet. Here a woman, faceless and without veils, sitting with her hands crossed between her thighs.