Annalisa Ferraris’ latest body of work ‘Noctua’ explores all things associated with the night.
Nocturnal scenes of her signature empty pools, and still life’s of half drunk martinis have a nostalgic yet somewhat eerie atmosphere.
The artist also explores new territory, painting vast mountain rangers in various stages of transition from day to night or visa versa.
This latest exploration of landscape painting is still executed in Ferraris’ confident palate of soft pinks, dark blues and pale yellows. An appropriate development in her ever evolving practice.
The artist’s work is notably darker than previous exhibitions as she delves into the study of plants (predominantly bromeliads) and explores themes of the night.
Along with a darker arguably more mature palette the artist has also ventured into a new medium using oil and acrylic on board.
Ferraris finds the richness and depth of oil paint better for translating the darkness of the night, as it contrasts with the flatness of acrylic.
Admittedly afraid of the dark, she suggests this could explain her preoccupation and fascination with all that night brings.
The two-time Brett Whiteley Travelling Art Scholarship finalist, Mosman art prize finalist and Paddington art prize finalist again activates the mythology of the road, only this time the nostalgia is navigated through the darkness of the night.
From plants to pools, and still-life’s to mountain rangers, Ferraris depicts a world after dark and full of beauty.