Contemporary Art in Rome

Annamaria Biagini 

A splendid symbolic aquarium of exactitude and dream

Annamaria Biagini is a painter of indisputable originality who certainly commands respect. From life, she draws the unpredictable multiformity of things and their unexpected rhythms; from 'her' theater she instead drraws a canny sense for setting the stage, and astute feel for background painting, and that varietas that kindles surprise and sorcery; from herself (that is, from her talent) she draws a sure sense of taste and the capacity to organize and incredible miscellany of articles from a properties chest within the mysterious art of representation, where line and form, colors and shadings arrange and quicken an other reality.

The story of this Livornese painter is already an intense one. Annamaria Biagini's training has taken many forms: in painting at the school of the master Giancarlo Cocchia, in sculpture with Sebastiano Trovato, and finally scene design under the direction of Ferdinando Ghelli.

Today, the artist has accrued a great quantity of professional experience and is acknowledged as a costume and set designer, working in the most important Italian Theaters in Milano, Genova, Bari, Roma and Firenze. The latter city has more than once hailed Annamaria's contribution to the Maggio Musicale Fiorentino productions.

For Annamaria painting is a sort of fatal landing-place where her many skills (from theather to dance) finally meld and mellow in a free creative impulse, into the gratuity of art.

Her paintings are untitled and it would be difficult to say why, although many would bear a title; it is also difficult for anyone who has not seen her works to describe them (and this is one of the artist's merits). But each work has its own story and evolution.

From dense monochromes, from earthen glazes, colors that stained the page (she is devoted to mixed media on paper), the artist moved toward what is today a sort of lenticular cleanliness of representation such that each of her canvases is varied and organic with an infinite multiplicity of real or unreal objects that assume the air of wheels, spheres (big balloons or bathyspheres), miniscule fragments of landscapes, columns and colonnades, fanciful asteroids in space, butterflies, umbrellas, suns, plants; an ensemble set against backgrounds in many delicate colors that have the silent grace of an aquarium.

Sometimes, instead, the hand draws (and in fact, a faint sketch always underlies her paintings) more precise forms, large circles containing that fantastic miscellany of non-existences we mentioned above (the paradise of a magical clockmaker), and then the artis inclines toward a curious classicism, almost recalling an illuminated capital in a medieval missal.

Something more, as we await the pleasure of seeing these works, we can learn from naming the artists on whose work Annamaria Biagini most meditated and of whom we can read labile, but significative traces in her work. For example, Bruegel and Ensor, or in a list in no particular order that nevertheless follows logic, Klee and Kandinsky, without forgetting Chagalll's Hebraic dreams from which the artist seems to derive that magical capacity to suspend images in dreamt flight.

But this painter's proprium is undoubtedly hers alone and lies in her capacity to unite the gratuitousness of the fantastic, the lenticular precision of the 'impossible objects' she represents, with a landscape that is at once independent, allegro, and rational, that contains something of ludus and something deeply symbolic. In Biagini's canvases, everything is exact, but it is exact like only a world that does not exist could be.

Pier Francesco Listri



Pianeta fiorito
mixed and media on wood

100 x 100 cm

Available works

 





 

 

 

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