novembre 01, 2011


She also studied at the Hochschule in Pforzheim, where she took technical courses on the art of enameling with fire. From 1987 to 2000, she taught the art of metalmaking and goldmaking at "Pietro Selvatico" and participated in various personal and public exhibits in Italy, Austria, Germany, France, Holland, Great Britain, Spain, the United States, Luxembourg, Switzerland, Korea, and Australia. Zanella has received numerous awards. In fact, she received the Herbert Hofmann Prize of Munich two times: once in 1997 and once in 2006. Her works can be found in the most important museums of the world, such as Musee des Arts Decoratifs, Palais du Louvre in Paris and the MAD Museum in New York. Her jewelry can be found in the most prestigious collections in Italy, Europe, and all over the world.

The structural influence that has always characterized her work attests to the compositional liberty that plainly stands out and detachs itself from the rigors and constraints of the geometric abstaction of Padua. In fact, her deconstructions always revolve around the normative bases that appear inverted and frayed by contradiction and non-conformation, and by the antithetical and the unexpected. Base materials, with mixed pigments and sediments of enamel, patina, nielli, oxides, and dust corrode the surfaces and change the end project, but the work still remains identifiable.

The dynamic coloring of the surfaces is somewhat informal and resembles "Action Painting". Zanella's collection and use of obsolete materials, such as paper, cloths, iron and cardboard seem to bring Neo-Dadaism to mind. Yet, her work is far from absurd or dream-like and is always concentrated between emotional compression and rational elongation. The continuing challenge is to use and choose unexpected materials and to translate them into suprising and even bewildering combinations. It is a never-ending provocation, a guided metamorphosis, a skilled alchemy. In the works of Annamaria Zanella, the material, always gathered in its transformations takes form in color and volume, and the dust takes shape and assumes a physicality. The objects are recalled from memory and have changed form. The substances, which were once unusable, have been manipolated and altered to give life to micro-sculptures in which neither beauty nor preciousness counts, but rather the underlying poeticism and the planned route. Creativity, force, sensibility, and bold inventiveness make an artist absolutely autonomous in the formal solutions and in the assiduous and constant material exploration.

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