Annalù (A. Boeretto) was born in San Donà di Piave, Venice, in 1976 and works at her studio in Jesolo (Venice). Annalù’s works have been shown in a number of Italian and foreign museums, and can be found in public and private collections in Italy and abroad.
Her work embodies lyrical and evocative characteristics, but also a large formal impact with images of involving power and exalted symbolic allure. In her works is a feeling of metamorphosis, of transition, evolution conceived as a journey between different conditions, diverse realities, a spirit of quest sharing some features typical of alchemic science. She assembles incongruous elements such as resins and paper, bark and glass wool, bitumen and sand, cement and roots, in order to create new realities and worlds suspended where alchemy is lightness.The artwork focuses in a sense of passage, of evolution, a kind of journey to different states, different realities with a dynamic balance: a spirit of research which has many aspects in common with alchemy that turns a raw material in another.
Inside the perforated texture of the dreamcatchers, metamorphoses of impossible, bright colored butterflies develop, where the worlds of air and water contaminate and interpenetrate each other. These butterflies are swimming, and the central splash becomes a portal to other dimensions. Furthermore, the use of the archetypal circular shape, and of the butterfly as the basic element (butterfly = soul) amplify this vision of impalpable lightness and at the same time of baroque dynamism, in which all the power of the cosmos seems to condense. The central part, in Murano glass, represents a real jewel. It has been created in the only furnace in Venice that has been active since 1300, using a secret technique handed down over the centuries. The Kengai trees are symbolic examples of Annalù’s “emotional trees”: natural constructions with a gnarled body and branches that, similar to long arms, are anchored to the sky through a luxuriant crown made of dismembered wings. From the resin, heavily used in all of Annalù’s sculptures, comes a highly poetic work played on the short circuit between the natural fact and a sumptuous artificiality, between the instant and eternity, between the apparent fragility and the consistence of the material. Annalù’s artistic project goes beyond all the canons of nowadays art: her sculpture imposes itself in all three dimensions and appears as absolutely, incontrovertibly liquid.