Born in Brescia on March 29, 2002, Arianna Galli moved at a very young age to Milan, the main scenario of her works. Since elementary school she manifested her vocation for poetry, at the extent that her teacher of Italian Literature included two of her poems in the class year-end recital dedicated to Italian Contemporary poetry.
Now she is a writer, poet, fashion journalist and literary critic, considered among the most interesting and experimental poets in Italy. She is best known for her books of poetry Non c'erano fiori (meaning There were no flowers) published by Giuliano Ladolfi Editore and Il Deserto di Milano / The Desert of Milan published by Edizioni Ensemble and contributes to the prestigious Italian literary magazines Studi Cattolici and Satisfiction and to the fashion magazine Falcon Magazine.
She has won several Italian literary prizes and her poems have been published and praised in major Italian newspapers and literary magazines, including La Repubblica, Corriere della Sera, Interno Poesia, Alma Poesia, Poesia del nostro tempo, Rivista '900 letterario and AtelierPoesia.
In addition, one of her poems was chosen as the opening of the international piano festival Lej Festival 2021, Retroguardia magazine dedicated a Spotify episode to Arianna Galli's poetry, curated by literary critic Francesco Sasso, and her poems have also been published for importanrt magazines in Spanish, French and Portuguese.
(P.S.: also incredibly passionate about acting, arts, jazz, cinema and sports;))
Her writing style
Through the years, Arianna Galli developed her own writing style: one that focuses on the musicality of the text, both prose and poetic one.
Her poetry is made of music and images, inner visions that try to explain life and its mystery in a symbolic and surrealistic form. It focuses mostly on the contemporary man, its perception of love and inner emptiness, its relationship with infinity and with the city, representative of the human pain and fragility.
Art is her second vocation. In particular, she focuses on human gazes, feeling and torments. She experiments with materials, for example red nail polish, mascara and wrapping paper. In her art, lines and colours are indefinite and what she represents, exteriority, is only a pretext and starting point for listening to the voices of human soul.