Anna Zinato - Artist, Sculptor in the Italian Tradition
Though Anna Zinato’s works derive from the classic ‘Venetian’ and Northern Italian Renaissance traditions such
as a primary medium of drawings and paintings in the Modern style with selections of Oils, she extorts a
fantastical expression in Sculpture and mixed media that clearly examines the female form(s) in Absentia.
She has a variety of works in clay, bronze, encaustic and other metallics; Anna’s attempts at exploring other aspects of craft—jewelry, pottery and silkscreen also demonstrate the dynamic variation she strives to inhabit and explore
as a broad studio artist who tends toward experimental works in 3D that require diverse physicality on the part
of the creator.
In recent exhibits, Anna’s emphasis is the aesthetic of ‘Woman’ being in various media and modalities.
The sculpted female ‘corps’ or ‘torso’ frame, originally heralded as masculine, both in aesthetic beauty of body
and form, as well as in the actual language of the Italian creating stylistic gestures as ‘studio del corpo’ or ‘torso’
is revisited as female corps, which coincides well with her ‘Absence’ series. Here, female modalities of aesthetics in body, of dress and performative expression such as the ballet presents an expression, though subject to interpretation, questioning the ‘uses’ or the ‘(m)usings’ of the ‘unidentifiable female’; her forms and formations within and without. In the guise of dismantling and evoking the desires of within and without, Anna offers a gender both in blurred and uninhabited neutrality. There’s a forthright emotive compulsion toward non-justification. The beauty aesthetic persists here with entities of non-persona. In witnessing this exemption justification, Anna offers occasion to know the feminine and the female as both in an absence requiring the viewer to witness her overturned in presence.
Similarly, Anna portrays this with her exploration of ‘Tree’ as the ongoing unidentifiable presence of a ‘rooted form’ in both colour and place with positional absence of various or specific identity.
The contrasting variety of expression in Anna’s forms through painting is most apparent to any viewer with the accented abstractions found through the sensory ‘velocity of landscape’ pieces. The human eye is able to visit how the fast moves among stillness and light. This creates an affect to perception from the eye while viewing landscapes in movement, possibly perceived from the movement of trains or cars. The quickened distances of passing through various terrains, as the viewer is standing still while the portrait is in motion, is uniquely relative from the actual travelling on trains or cars. Anna evokes post-modern foresight by way of fragments in time and space as the relationship to perceiving opposites between movement and stasis in land and matter are found in ‘On The Way To Sicily’ and ‘Per Modica’. In similar style, her miniature works ‘Oil on Linen’ offer a further textural and tactile approach with the use of linen. The intensity of this material as medium enhances the slowing of motion while it continues toward quieter tempos through triangular relationships among light, movement and stasis. Between these two sizeable approaches of landscape portrait, miniature and gigantic, there is
a distinctly similar yet, apparent difference in sensory perspectives.
Sonia Di Placido
Though Anna Zinato’s works derive from the classic ‘Venetian’ and Northern Italian Renaissance traditions such
as a primary medium of drawings and paintings in the Modern style with selections of Oils, she extorts a
fantastical expression in Sculpture and mixed media that clearly examines the female form(s) in Absentia.
She has a variety of works in clay, bronze, encaustic and other metallics; Anna’s attempts at exploring other aspects of craft—jewelry, pottery and silkscreen also demonstrate the dynamic variation she strives to inhabit and explore
as a broad studio artist who tends toward experimental works in 3D that require diverse physicality on the part
of the creator.
In recent exhibits, Anna’s emphasis is the aesthetic of ‘Woman’ being in various media and modalities.
The sculpted female ‘corps’ or ‘torso’ frame, originally heralded as masculine, both in aesthetic beauty of body
and form, as well as in the actual language of the Italian creating stylistic gestures as ‘studio del corpo’ or ‘torso’
is revisited as female corps, which coincides well with her ‘Absence’ series. Here, female modalities of aesthetics in body, of dress and performative expression such as the ballet presents an expression, though subject to interpretation, questioning the ‘uses’ or the ‘(m)usings’ of the ‘unidentifiable female’; her forms and formations within and without. In the guise of dismantling and evoking the desires of within and without, Anna offers a gender both in blurred and uninhabited neutrality. There’s a forthright emotive compulsion toward non-justification. The beauty aesthetic persists here with entities of non-persona. In witnessing this exemption justification, Anna offers occasion to know the feminine and the female as both in an absence requiring the viewer to witness her overturned in presence.
Similarly, Anna portrays this with her exploration of ‘Tree’ as the ongoing unidentifiable presence of a ‘rooted form’ in both colour and place with positional absence of various or specific identity.
The contrasting variety of expression in Anna’s forms through painting is most apparent to any viewer with the accented abstractions found through the sensory ‘velocity of landscape’ pieces. The human eye is able to visit how the fast moves among stillness and light. This creates an affect to perception from the eye while viewing landscapes in movement, possibly perceived from the movement of trains or cars. The quickened distances of passing through various terrains, as the viewer is standing still while the portrait is in motion, is uniquely relative from the actual travelling on trains or cars. Anna evokes post-modern foresight by way of fragments in time and space as the relationship to perceiving opposites between movement and stasis in land and matter are found in ‘On The Way To Sicily’ and ‘Per Modica’. In similar style, her miniature works ‘Oil on Linen’ offer a further textural and tactile approach with the use of linen. The intensity of this material as medium enhances the slowing of motion while it continues toward quieter tempos through triangular relationships among light, movement and stasis. Between these two sizeable approaches of landscape portrait, miniature and gigantic, there is
a distinctly similar yet, apparent difference in sensory perspectives.
Sonia Di Placido
