Rosella Renée Fabbiocchi was born in Teramo, in central Italy, on 4 April 1957. Her early studies led her to the Gabriele D'Annunzio University in Pescara, where she read Foreign Languages and Literature, with work connected to the English pre-Raphaelite writer Dante Gabriel Rossetti. From those years onward, the reading of poetry and the making of images were never separate practices.
In the years that followed, periods of study and research took her to New York, Oxford, Coventry and Warwick, Munich, Paris and Tokyo. Each city entered the work by way of a specific attention — the American library, the English garden, the Bavarian light, the French sentence, the Japanese pause.
In the early 1980s she adopted the name Renée, in homage to René Magritte's La Mémoire. The re-naming became a way of working: memory would be a permanent theme, and the self a construction of language, mirror and colour. Around 1984 she wrote DAS, an early book referenced in artist materials (details are pending confirmation).
In 1987 she began Il Direttore d'Orchestra, a work of mixed media dedicated to Joan Miró and, according to the artist, completed in 1994. In 1988 she painted ME.MOI.RE, the foundational homage to Magritte that fractures the word memory into me, moi and re. Music and painting had become a single instrument.
In 1995, in Munich, a workshop and small performance with children opened what would become the STELLINA project — a pedagogy of seven colours and seven notes, addressing the interior life of the child as an ethical matter. In 1998, still in Munich, on Mariannenplatz 2, she inaugurated the Museo dell'Anima and the Banca dei Valori Spirituali — the Museum of the Soul and the Bank of Spiritual Values.
In 2001, with the Sicilian sculptor Matteo Lo Greco, she co-authored the Manifesto Kalos K. — a text on beauty as ethical practice. The homages to composers continued (Omaggio ad Händel, 1994; Omaggio a Verdi, 2000), and in 2003 a family diptych, Mia Madre M.Aria and Mio Padre An.Ton.Io, was joined by KIN TSU GI — Dal Dolore al Colore, borrowing the Japanese repair as a philosophy of the fracture.
In 2007 she published the 42-page catalogue e.qui.li.b.r.io, and her materials associate that year with Venetian showings of Venere della Memoria and Elevazione obbligatoria. In 2013 she exhibited at the Istituto Italiano di Cultura in Munich — an institutionally documented moment.
In 2015 she announced the Scuola del Cuore / S/PACE in Volterra, in the Via Orti di Sant'Agostino. According to artist materials the house opened in 2017. From that point, the practice moves between the Munich museum and the Tuscan school, with STELLINA as its common language.
In 2023 she completed La Folie du Jour, a large-format work (250 × 40 cm) borrowing its title from Blanchot — a tall page for the ordinary madness of a single day. A 2020 autobiography is referenced by artist materials; the publisher and ISBN are pending confirmation.
The work continues along a single line: to hold, in one hand, painting; in the other, a school; and, between them, a museum of the interior. The current public ecosystem — the artist site, the STELLINA foundation, the Artwork Archive room, the channels — is the map of that practice made visible.