Anna Gili’s design cannot be defined by the style of any given era, on the contrary, it slips away from any epochal link as it breaks through and crosses the barriers of time and space.  Her work is a narrative, a story which becomes manifest through objects and installations, taking us to the outer boundaries of the discipline of design and on a journey where a reversal takes place. An inverse process in which it is the ‘narration’ about the artefacts and not necessarily the specific artefacts that becomes the art piece.

CRO, ELEPHANT PLANET AND SPACE BICYCLE

The clearly defined silhouettes express the exterior and interior qualities of the figures.  They have been designed to be placed in and to make a mark on banal anonymous urban areas, that are void of character, such as; shopping malls, road roundabouts, and suburbia.  

The presence of these pieces stands for “still” thoughts and things whose aesthetic-poetic-ethical function compensates for the alienation of the spaces they are placed in.

CRO is a sculpture-vase which is supported by three feet; its arms stretching out freely into space to evoke the powerful grace of a mysterious winged metaphor.  A gesture of reverence and gratitude to Mother Earth, and that of belonging to the female gender.

SPACE BICYCLE

The bicycle is presented, finally, as a sculptural object and becomes a visual instrument of dreamlike escape to “pedal in one’s dreams”.  The inspiration comes from the idea of deconstructing a bicycle to explore the possibilities, to create a renewed form and object upon which to build new; values, potential, uses and qualities.

ELEPHANT PLANET

In our constantly changing lives ‘Elephant Planet’ sculpture transforms itself into an “active presence”.  The massive body represents stability and continuity and the semiotic structure of the body turns the work into an art object.  The refined form and polychrome, of the piece, creates a sculpture that is an integral part of the space and is in harmony with the environment.

Anna Gili’s design cannot be defined by the style of any given era, on the contrary, it slips away from any epochal link as it breaks through and crosses the barriers of time and space.  Her work is a narrative, a story which becomes manifest through objects and installations, taking us to the outer boundaries of the discipline of design and on a journey where a reversal takes place. An inverse process in which it is the ‘narration’ about the artefacts and not necessarily the specific artefacts that becomes the art piece.

CRO, ELEPHANT PLANET AND SPACE BICYCLE

The clearly defined silhouettes express the exterior and interior qualities of the figures.  They have been designed to be placed in and to make a mark on banal anonymous urban areas, that are void of character, such as; shopping malls, road roundabouts, and suburbia.

The presence of these pieces stands for “still” thoughts and things whose aesthetic-poetic-ethical function compensates for the alienation of the spaces they are placed in.

CRO is a sculpture-vase which is supported by three feet; its arms stretching out freely into space to evoke the powerful grace of a mysterious winged metaphor.  A gesture of reverence and gratitude to Mother Earth, and that of belonging to the female gender.

SPACE BICYCLE

The bicycle is presented, finally, as a sculptural object and becomes a visual instrument of dreamlike escape to “pedal in one’s dreams”.  The inspiration comes from the idea of deconstructing a bicycle to explore the possibilities, to create a renewed form and object upon which to build new; values, potential, uses and qualities.

ELEPHANT PLANET

In our constantly changing lives ‘Elephant Planet’ sculpture transforms itself into an “active presence”.  The massive body represents stability and continuity and the semiotic structure of the body turns the work into an art object.  The refined form and polychrome, of the piece, creates a sculpture that is an integral part of the space and is in harmony with the environment.