"Tornado a Venezia" (2014)
rusted iron wire, copper wire, zinc wire, glass and terracotta fragments
165 x 75 cm
"Tornado in Venice, represents my identity, full of contrasts and energies, that impetuously envelopes my human being"
The nature vortex in union with artist's cultural and creative one, is able to "anticipate the future, decontruct a static element and give start to a circular movement. In my mind, the magnificence of architectonic venetian environment is an hold point, that I intensely admire and that symbolically desired to move and tran with the contemporaneous art languages" (AMRS)
"Her intense activity in construction industry in the years spent in Perù, where the architect-artist was able and longing to plan everything in the smallest detail are in strong cotrast with the present, free, spontaneous, unexpected artistic activity and the new languages that Venice and her own artworks are enriching her.
Two identities, two lives, two cultures, at the moment perfectly and strictly integrated and full of energy, an energy able to create new conests, new paths, new artistic styles and strong changes, seemingly repudiating the past, but actually mixing la riqueza de la experiencia, with extreme lightness and elegance.
The central thread is really the continous change in the artist's life, from the childhood in Peruvian Andes to the period of total immersion in the construction industry progression in Lima town, creating draws, construction and re-costruction, being desirous to rebuild and recreate all the has been dstructed from a natural disaster in her childhood; then she landed in Venice, eternal beauty capital, made of an illusory lightness and perfection, where art and richness are the absolute protagonists.
Ana Maria Reque's artwork is really complex, eclectic, at first glance hard to be read; each artwork contains fragments of her life, moments and different cultures wich can dialoghe with force and incredible elegance, even it so different.
Her artworks send back to the samanic tradition to the Andes, to the master glass-maker of Venice that evoke to Nature colors and shapes, in a vortex of fragments of life and material as in the series Tornado a Venezia, in strong contrast with the perfect balance found in Una Nuova Vita." Art critic Dr. Serena Mormino.
Finestra temporale a Venezia 1 (2013)
wood, polyurethane, plaster, glass, stanless steel.
180 x 195 x 90 cm.
"The project began in November 2010. I was walking past Punta della Dogana, it was dusk and only then did I notice the different textures of the walls of that building, without thinking of the degradation of the brick facing due to rising damp; I admired the beauty of that wall of worn bricks of an orange-red colour that rejected its outer covering of Istria stone and revealed itself to everyone as the real structural support.
Exposed Venetian bricks have become a fundamental element of contextual architecture.. They are an expression of the local identity, I think they are one of the messages that the historic city wants to transmit, and that, for certain Venetian wall coverings, restoration and reintegration with a covering of Istria stone is not necessary. For me, seeing Venetian walls with diferent eyes began on that afternoon in the winter light.. The image was transformed into an environmental sculpture.
No artistic or architectural work should be seen as an end in itself, but as on instrument for communicating and relating to its context. Finestra temporale (Window in Time) aims to recall the old construction systems of the different periods of the architecture of Venetian civil buildings, in a space of time from the Early Middle Ages to the Renaissace; when at the end of the fourteenth century the Gothic school ousted the Byzantine, and how the Roman Rnaissance was then imposed on gothic tradition, and that was the period when Venice changed colour and the brick walls were covered with slabs of Istria stone and marble.. The city lost its colours and became white, but the Venetian Gothic bricks and their internal energy have to breathe, and they reaveal themselves as the real structural support and the body of the building.
The semicircular central composition with glass fragments aims to suggest the idea of time tavel. The fragments represent the three commonly perceived dimensions in space and a fourth dimension, space-time. The window in time is lit up by day thanks to its mirrored surface which represents the Venetian lagoon and by night thanks to the electrical installation and the Moonlight." AMRS