Concret and Glass

View Concrete and Glass exhibition, A Foundation 2008
A Riflemaker exhibition

Formazione II: Monti Silvestri
(Mount Silvestri) 2007
oil on aluminium
250 X 360 X 30cm

Formazione III: Bocca di Bove
(Mouth of the Ox)2007
oil on aluminium
250 X 250 X 30cm

Configurazione III: Sospenzione
Oil and Polish on aluminium 
250 X 250 X 30cm

 

Configurazione II: Scirocco Infernale, 2007
Oil and Polish on aluminium
250 X 250 X 30cm  

 

As a child in her native Sicily, Annabelle Moreau painted the boats of the fishermen in the bay of Isola Bella, just along the coast from Taormina. But not with the traditional seashells and mermaids; Moreau adorned the vessels with layers of red and gold depicting the vocanic eruptions she witnessed at nearby Mountain Etna.The ‘explosions’ proved popular, and the young girl spent her summers painting local boathouses and keeps.

 

Later, the decision to work with ambiguous space and surface was sparked by seeing the work of the early pioneers of Spatialismo; Lucio Fontana and Luciano Fabro. These, along with the writings of her great-grandfather, the eminent volcanologist Carlo Gemmellaro, informed her chosen practice. Moreau’s sculptural panels; paint, powder, gold, copper and polish on convex shards of metal, depict a disintegrating surface. An airless texture of cavernous depth.The surface film of aluminum is endlessly razed and rouged, painted, unpainted and repainted. Colours are chosen for their luminosity and their ability to reflect, filter and bounce a light source in much the same way as stained glass. The work appears in flux, rhapsodic, with the sense of a gathering storm or an infused, eternal twilight. A centrifugal, radial motion holds the elements together. Panels are presented in multiple formations or in diptych or triptych which can be suspended or left freestanding.