Décor design belong to an iconographic research magnificently linked to recurring stylistic themes that Anna Gili has been applying indifferently to the skin of things or surface of bodies for thirty years now and which constitutes a brief but very singular chapter in the kaleidoscopic history of Italian design….

Love of nature, of the universe, of life which belongs to us and to whom we belong is also manifest through the love we have for objects, not just for the creatures of the world, but also for the daily objects which surround us. But love is never interest-free, and the interest for the creatures of the world and daily objects is expressed in the artist and designer Anna Gili as an interest for the sign, the trace, the visible form:   in a nutshell, the semiotics of their appearance.

One could repeat the words of Baudelaire, that the world is a forest of symbols, but above all – for Gili, it is a semiotic forest, a forest of tracks, signs, splendid hieroglyphics of nature whose animal spirit cosmic breath –   an artist of design, more than anyone else must treasure.

Gili is fascinated by that silent language of dreams which takes you back to the language of mystery.

 

Roberto Carracci

Décor design belong to an iconographic research magnificently linked to recurring stylistic themes that Anna Gili has been applying indifferently to the skin of things or surface of bodies for thirty years now and which constitutes a brief but very singular chapter in the kaleidoscopic history of Italian design….

Love of nature, of the universe, of life which belongs to us and to whom we belong is also manifest through the love we have for objects, not just for the creatures of the world, but also for the daily objects which surround us. But love is never interest-free, and the interest for the creatures of the world and daily objects is expressed in the artist and designer Anna Gili as an interest for the sign, the trace, the visible form:   in a nutshell, the semiotics of their appearance.

One could repeat the words of Baudelaire, that the world is a forest of symbols, but above all – for Gili, it is a semiotic forest, a forest of tracks, signs, splendid hieroglyphics of nature whose animal spirit cosmic breath –   an artist of design, more than anyone else must treasure.

Gili is fascinated by that silent language of dreams which takes you back to the language of mystery.

Roberto Carracci