Anna Maria Tamiozzo embarked on her restauri (restorations) to restore the traces and
fragments of genuine, primary experience, which spnng instinctively from beyond her
consciousness, by recleaning and undoing the encrustations, supenmpositions and
sedimentations. Her "pictorial" style is a metaphor for our intimate need to wipe our
conscience clean and to return to cognitive acquisitions, reunited by directly experiencing
objects and emotions and by structuring visual "thoughts" on a voyage of creation and
decoration. Hence Anna Maria Tamiozzo's work is a secret journey into inner space, an
exercise in gestural expressiveness and in contemplative manipulation which rediscovers and
reinvents materials and the effects created by light, rhythms, combinations, counterpoints,
space and by the unexpected colours which gush forth from her assemblage and her poetic
images. These images are evoked by the relationship between her hands and the material and
by her keen senses, which rediscover the essence of an object and its transformational
movements. This rediscovery allows her to shape her perception and comprehension of
potential movements, developments, waste and secrets waiting to be unveiled. The artist
creates them by reaching introspectively, touching upon and reliving the "knots" of her own
life and treating her work as a stage where scenes come and go until the original backdrop
reappears.
Spatial effects fascinate and seduce her into freeing the atmosphere of emotional precipitation,
thus increasing the potential to welcome, re-iive, contemplate and re-evaluate every event,
both physical and psychic, with a sense of existential harmony and discovery which highlights
and contemplates shreds of sensory and intellectual experience reassembled with carefully
measured doses and precise operations. The colours break through in such a way that the on-
looker is led on a tour of inspection through psychic space and time, as if on a conquest of an
aerial and temporal dimension, in a never-ending game of starts and stops in which reality
challenges emotion, and the labyrinth of our inner senses comes up against the sensory power
which fills and acts upon her material. The entire, elaborate process behind the preparation and
execution of her works, from the stratification of gauze and web on painted backgrounds to
the in-depth probing and search for formal and colourful rhythms in the "rips", are a far cry
from any deliberate attempt at "narrative" because the impact of her material is never
"descriptive", but always about individual interpretations and formal agreements until a special
"range" of visual harmony is created. Art deco, variations in construction and studies of
structures pepper her work. There is even a simple, direct reply in the pleasure of admiring her
constituent and colourful taste which in a certain way becomes consolatory as it restores order
and balance. But what is truly comforting is her tactile, perceptive and intellectual
understanding which stimulates our eyes and poetic imagination in a conscious and constant
enrichment of both experience of the real world and our ability to intervene, redesign and
invent within the sensory worid, the reality of our inner self and our memories of them both,
now no longer seen as rigid and unchangeable, but fluid and transmutable.
(Giorgio Segato)
Recent Exhibitions
Art Gallery
Address
Anna Maria Tamiozzo Prandstraller
