Anna Romanello's research is placed in that space of tension in which the sign ceases to be a simple trace and becomes form, matter and language. His engraving practice arises from a profound relationship with the surface: engraving means crossing it, altering it, leaving a memory of the gesture.
In his works the sign takes on an autonomous and stratified dimension. It is not just a graphic element, but a gesture capable of building, subtracting, interrupting and recomposing.
The matrix, in its dual nature of origin and surface, thus becomes the site of a transformation: what is engraved carries with it the sense of wound, permanence, trace.
Between sign and for11ia investigates precisely this passage: the moment in which the sign, through repetition, superposition and its relationship with emptiness, acquires its own formal structure. Composition does not offer itself as an immediately decipherable image, but as a perceptual field, in which the gaze is invited to follow directions, rhythms, interruptions and densities.
Romanello's engraving thus reveals a contemporary sensibility that looks to the tradition of graphic art without remaining bound by it. The engraving gesture becomes a process of knowledge: digging into matter to bring a possible form to the surface. In this continuous oscillation between what is sign and what becomes form, the work manifests itself as a living surface, capable of preserving the time of the gesture and, at the same time, transforming it into a new visual experience.
Elisabetta La Rosa
Art historian and curator
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