Simultaneously to her career as a propmaster for major film productions, Annie has maintained a conscientious painting practice for decades. The influence of high modernist painters such as De Kooning and Richard Diebenkorn is easily discernible in her work.
The artist uses behind-the-scenes photographs taken on the set where she works. These images are transferred onto canvas and intervened with acrylic paint or serve as a reference for her large-scale ink drawings on blank sheets of photographic paper.
By bringing to the fore the chaos and the massive infrastructure that supports the illusion of virtuality, Annie restores to consciousness the shadow cast by the endeavour intrinsic to large-scale film productions. In the therapeutic sense of the term, this act is a work of elaboration on the megalomanic complexes involved in film productions and on the autistic relation of modern painting with cinema.
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