Annalù

The architecture of your creations, linked to deja-vu, time and Reverie, inevitably lead the observer – when observing the work – to discover shapes and compositions in order to deepen the emotional meaning of what is in front of him. What is, in your opinion, the relationship that should be established between observer and installation? In your experience, what are the most important emotions that visitors feel when studying your works?

I believe that in front of every work of art an empathic process should be established, a sort of emotional energy flow. I fully agree with what Duchamp said, that art is a Heraclitean condition in continuous transformation. Art is the fulfillment of a prophecy as Wilde said and for this positive character it must give us confidence.

When the artist draws on a white sheet of paper with his dark pencil, he creates thresholds, enigmas. The Artist takes away light. Art represents this teaching: it obscures a homogenizing light and in doing so it sets thresholds, limits that must be continually overcome. This is the artist’s task. I don’t really know what visitors feel in front of my pieces because I am not in their hearts, but I certainly know what I continually try to do: so I would like to leave the memory of a new sculpture that highlights the sensation of a living, breathing nature and that exalts the sense of immediacy, of fleetingness frozen in an eternal present while becoming an Absolute form.

I consider poetic everything that is strongly evocative and projected towards the dream, inclined to that feeling that tends to have an idealized and fantastic vision. And this is the direction I try to give to my work that always travels on the oneiric threshold leaving space for the collective imagination.

ARTE LAGUNA PRIZE EXPERIENCE

How would you describe your experience during the Arte Laguna Prize edition? How did this event influence your career?

I participated in the first two editions of Arte Laguna because from the very beginning the Prize presented itself as a high-quality competition and for a young artist this represents a great opportunity first of all to show your work to the competent members of the jury and then also to exhibit in prestigious locations.

In my career the watchword has always been perseverance and work. The connections, the relationships, the links that are created and developed step by step, exhibition after exhibition, year after year are the lifeblood that makes you grow and improve. I believe that the experience of doing builds the experience of being.

So starting from the assumption that talent exists, I believe that the important qualities for an artist are self-discipline, the seriousness in setting goals and constantly committing to achieving them. Winning several special awards from Arte Laguna was truly a great resource for me because I was able to compare myself with the excellence of our territory and at the same time open myself to new horizons.

Talea, Annalù (2022)

What was the craziest/absurdest moment of your artistic career?

I remember many funny and crazy moments in my artistic life but one in particular will always remain in my heart: the inauguration of the gallery in Hong Kong that belonged to the one I always called “the Emperor”: Mr. George Wong with whom I worked for several years as the only European artist in his stable. After the inauguration there was a wonderful dinner at one of his 7 towers in the hills of Hong Kong and I remember being excited (with my new kimono bought especially for the event) in the dinner room with a 20-meter table. It was a memorable evening with all his collector friends.

Mr Wong was a huge art collector: one floor of the tower was dedicated to his collection where you could see the major protagonists of modern art such as Picasso, the futurists, Cezanne to name just a few… He was a great magnate especially towards young Chinese artists and for me it was a great honor to have had the opportunity to work with him; he had a crazy collection of monumental sculptures by Dali and I remember in the corridor that led to the bathrooms some crazy drawings by Matisse.

I think all this will remain in my memory forever.

Dreamcatcher Horet, Annalù (2023)

Dreamcatcher The Blue Time, Annalù (2023)

How do you maintain daily motivation?

I don’t need motivation to do what I consider my life’s breath. Art for me is not a hobby, it’s a necessity.

The primary and daily goal is to advance even further in my work: my whole life is based on “exercise”. Continuous exercise aimed at improving and overcoming previous steps. This is what takes my breath away and at the same time saves me. It’s always a question of moving the boundary of the known into the unknown and to do this you need to be trained. For me it becomes fundamental that in the work you don’t feel the fatigue but everything must appear in front of the eyes of the observer as a natural miracle. I take great care in achieving this goal.

Then there are an infinite series of heartbreaking, devastating, distressing moments while I work and a few – but they repay me for everything – in which I perceive in my hands, in my heart and in my mind that something of what I have done has a special energy.

What are your future or current projects?

The most important ones I always have many, too many projects and I often change them during the process. The truth is that last year they asked me the same question and I answered by telling about projects that then underwent changes because life is like that and I got used to swinging in its continuous elastic. For this reason this year I chose a different approach, freer and mainly based on work. Surely the expansion of my atelier was and will be an important point because I would like it to become a space where I can create synergies and collaborations with musicians and other languages; then there are the international solo exhibitions that will develop between Singapore, Turkey and Dallas. Finally there are some projects that I care a lot about like Talea but in reality they do not have a set timeframe. It is about the creation of new sculptures that will also be wearable objects and at the same time will maintain their sculptural strength as pure objects. In all this, not only sculpture as an object will become important, but also the theatrical aspect of the staging up to the photographic shot that will define its new form. But I take the time necessary for this idea to become a concrete form.