Anna Farris’ art is characterized by a series of paintings following a precise creative and emotional development, forged by the disposition of an artist in a never-ending experimental research.
The reflective and intimate look of her work tends towards a dimension both figurative and abstract, imposing itself as a quest for balance and tells her dedication to art and its communicative potential. Each canvas goes beyond the mere descriptive tale: the technique is at the service of the thought, the colours give thickness to the image, the shapes exude vibrations and emotions.
The expression of a delicate soul emerges, capable of understanding and interpreting those images from reality that hit her creative imagination in different ways. These are suffused with a delicate lyricism, tending towards a progressive transfiguration of the real, in order to reach an abstraction of informal brush strokes.
Farris takes inspiration from fragments of her reality, revisiting it until its disruption, opening it to instinct, imagination, feelings, to vivid atmospheres where the colours present expressive value of perceptive and sensorial experiences.
It is a pictorial pulsion of an internal and external vision which combine into chromatic strokes, charged with different contents, making space for intuition and aesthetics.
The strong and vibrant colours are amplified by their union, and then softened in order to create intimate and delicate visions which can be found especially in her first period, where the artist dedicates herself to watercolor and sacred art, giving life to extremely communicative works of art: thoughtful faces or dedicated loveliness, icons of the most noble historic and artistic tradition of pure colors, still lives of estrangement, filled with a contemporary light and the vividness of the colors.
During her long creative journey, we see her will to free the pictorial language, and the topic of music, present in various canvas. This is a visual recalling to Kandinsky’s theories, for whom music is pure expression of intimate needs. Therefore, it should free itself from the imitation of the physical object, in order to become pure abstraction.
The figurative element, even if still present, (Esplosione di note e colori, Chitarre a suon di colore, Senti delle note e diventeranno colori, Il Violinista), tends towards the deconstruction of the lively use of colours, of the vivid shades and the strong strokes (Senza titolo – 2015).
Through various artistic experiences and stylistic research, Farris’ is a formal evolution which combines a classic and traditional inspiration with an introspective and contemporary twist.