Domenico De Chirico
In an evocative balance between minimalism and symbolism, and closely linked to a sophisticated
and harmonious development of elements, the work by the multi-faceted Anne Laure Sacriste focuses
on the ontological matter of painting and on the visual perception that we generally have of
it, creating an eccentric visionary repertoire that unfolds between nature and fantasy. This specific
pictorial research is essentially based on an observational activity, first of reality and then of figurative
abstraction, in which the relationship with space is as fundamental as the one with gestures and
the intuition of forms. The artist’s work displays predominant characteristics that reveal her classical
education: clarity, logic and order. Anne Laure, in fact, is strongly inspired, among others, by the
classical tendency of French artist Nicolas Poussin (1594 – 1665), by the romanticism of German
artist Caspar David Friedrich (1774 – 1840), by the neoclassical paintings of French artist Jean-Auguste-
Dominique Ingres (1780 – 1867) and by the symbolist ones of German artist Arnold Böcklin (1827
– 1901). The landscape, which represents one of the basic elements of her artworks, can be assessed
with such classical composure, highlighting the dignified and bucolic attitude that intellectuals,
from the 17th century onwards, had taken with regard to nature.
Monochromatic backgrounds, plants and ornaments, are all intensified through a fusion process between visual history and a free association of images, typical of psychoanalysis, in order to simultaneously undermine the ideals of classical clarity and those of decrypted analysis. Anne Laure Sacriste researches the possibilities to represent what is real as well as those violations offered by fantasy: her paintings are an invite to move further and step into a world where time is suspended and apparently unintelligible, in which the emblematic element of the landscape carries a symbolic narrative. Each one of her artworks allegorically represents a passage from one place to another, where wishes, worries and creative impulses camouflage in medias res.
These worlds, which can be observed, disrupt what lies beyond what is concrete and empirical — a creative universe in which poetry and painting work hand in hand in the description of nature and of the status quo of things.
The landscape is marked with an immateriality in which the oxymoron between darkness and light plays on the thin line between gestures and emptiness.
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