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 “firm” 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 does not represent a status which flaunts the style of an era, on the contrary, it slips away from its epochal collocation because it breaks through and crosses the barriers of time and space through the narrative forms of how she sees and talks about design. It is, in reality, a story which becomes manifest through objects and installations, taking us to the outer boundaries of the same discipline, with an inverse process in which narration becomes the real form of the artifacts.

CRO, ELEPHANT PLANET AND SPACE BICYCLE

They are figures that affirm their exterior and interior presence through easily discernible outlines. They aim themselves to the qualification of anonymous urban areas, such as shopping centers, road roundabouts and suburbs. Places that need qualifyng presences: They come across as thoughts that are structured to express their responsibility as “still” things. Their ethical-aesthetic-poetical function compensates the alienation of the place.

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

SPACE BICYCLE

His presence, finally a sculptural object, becomes a visual instrument of dream escape to “pedal in his dreams” … The inspiration comes from the idea of deconstructing the structure of a bicycle to explore its possibilities of renewal formal through which to build new values and qualities of the object.

ELEPHANT PLANET

In the constant changes of our living, elephant planet sculpture transforms itself into an “active presence” with a double benefic effect on one side, his massive body become index of stability and immutability, and on the other, the representation of semiotic structure of his powerful body, turns into an object of art: from the refined and polychrome forms that relaunches itself, ievolving , as an integral part of space.