The context of this exhibition is interesting since it reaffirms an old but always valid argument. An artist who works in an informal dimension (which is the case of Annamaria Russo) explores the visual wealth of classicism and produces her own personal interpretation of it.

Does it make sense? It is obvious that the reply must be positive, but it is also evident that the way an artist approaches this artistic heritage determines the distinctive element that characterizes the diversity of one artist from another, permitting a better definition of the personality of each one.

Annamaria Russo is an ardent and involved artist. Her relationship with the materials she uses is always direct and spontaneous, therefore completely the opposite of what is generally accepted as what can and should be our relationship with antiquity, inevitably difficult and indirect.

For Annamaria Russo the problem is not so much to reanimate the image of the antique statue, but to rediscover the life dormant within the work of art.

The artist therefore sees antiquity as something that is within our reach rather than irremediably lost, hence the technique she uses is immediate and impulsive.

Obviously in order to be convincing in this type of approach, the artist is forced to relinquish a favourite format which she has been using for some time, a format that does not intend to reproduce any resemblance of the real, but to produce a reality of its own, composed of chromatic wheels, of a unification of tones, of glimmers of colours and space.

However, one cannot say that this a contradictory experiment. It is rather an undertaking that combines various factors in order to arrive at a type of synthesis, that of a recollection of the past achieved with ideas contrary to any type of pedantry, dependent only upon emotions.

Therefore for this artist, yet another moment of truth that brings her ever closer to us with her subtle and intimate sensibility.