Through subtle layers of memories, breaths, little heaps of ‘tidy chaos’, naturalistic scenery, erosion, and land stratification, the artist always builds her sculptures from a certain point of view. Layer by layer, the work takes shape as the artist has imagined, and at the same time, it is the material which guides her hands. And yet, there is never only one correct viewpoint from which to observe Annalisa Guerri’s sculptures. Apart from that suggested by the artist herself, there are innumerable others which reveal different scenes, other memories, other worlds; personal, subjective, and more or less shareable and narratable. ‘Strata, Aura, Rubra, Mèlas, Climax, Cumolo, Khroma, Thàuma’: the titles themselves of the works suggest to the observer what to look for, without telling them what to see.
The viewer is thus invited to allow himself to be influenced by the microcosms represented in Annalisa Guerri’s sculptures, and by the imaginary scenes created by their shapes and colours, in search of hidden combinations in the works and the language of the artist. (Manrico Rotili).