“On the vaporization
and concentration of the self:
everything is there” (Charles Baudelaire)
Annalù’s artistic research follows precisely an epistemological procedure which derives from the fundaments of matter – or from these vital elements which Empedocles used to define rizòmata (“roots”) of all things – in order to understand at least the spectacular greatness of natural phenomena. Annalù is one of those artists for whom the supremacy of matter, chemistry, physical substances, is an integral part of a broader exploration process that most certainly includes art but also other intangible dimensions of the spirit. The artist explores the world of sub-lunar substances, dominated by the fluxes of growth and proliferation, with the attitude of a wizard’s apprentice, devoted to the difficult task of extracting, as Romans used to say, e pluribus unum (from the multitude, the unity). In Annalù’s modus operandi a fascination with chaos emerges, in order to transform the formless mass into the ordered shape of the object. In fact Annalù herself declares her artworks constitute the story of “a primordial material (chaos), which, molding itself, needs accidental elements (chance) to become thing, or artwork, a new form”.
Annalù’s imaginary journey starts here, specifically from the tangible reality of elements and organic substances, from their mix, metamorphosis and transmutation through that admirable alchemic form called “imagination”. An analytic imagination which has allowed her, up to now, to understand the mechanisms of growth and dissolution that govern natural mirabilia, sometimes she deciphers the mysteries of water, other times she permeates butterflies’’ fascinating microcosms, with an attitude capable of epitomizing the observation of facts by metaphor and allegory.
During this new phase of the artist’s pilgrimage, nature assumes more complex forms, it becomes organized in more precise geographical configurations such as fragments of landscape, or a hypothetical conglomerate of fabulous islands. The ground, symbolically evoked in previous artworks through the use of sand, roots and tree bark, now transforms itself in territory. Above all in Isole FloreAli, the elements of platonic stoicheia (air, water, earth and fire) seem to be molded into new entities, in autonomous microcosms and organic architectures, each releasing a different emotive temper, faithfully transcrbed in its own morphology.
Extract text from “ Le voyage imaginaire” by Ivan Quaroni, Personal exhibition catalog, Wannabee Gallery, Milan, 2011.