Since 2010, Giulia Andreani has been growing a visual archive comprising historical material and personal memorabilia, which acts as the departure point for her practice. Looking at antique, modern and contemporary sources, the artist reproduces and alters motifs, sometimes assembling and layering them. Working mainly in watercolour and acrylic on paper or canvas, Andreani filters imagery through a distinct palette oscillating between hues of deep blue and light grey—a possible nod to Gerhard Richter’s practice, with whom she shares an exploration of photography’s relationship to painting. Other references in her work include Pietro Germi’s tragicomic neorealism, Pier Paolo Pasolini’s hyper-mannerism, Luchino Visconti’s decadent lights, as well as the distorted figures of Hannah Höch’s collages. Driving Andreani’s practice are concerns around history and representation, especially that of women and women artists.
Image: Fillon fillette ou Jeannette, 2019, acrylic on canvas, 150 x 200 cm.; 59 x 78 3/4 in.