“The Anne Lise Kaaby’s pictorial space “ by Manuela Vannozzi

Anne Lise Kaaby, artist, has artistic caliber and personal dimension that have a recognizable profile in the current art scene. She expresses a lifestyle and stylistics culture, which is based on the internalization dimension of aesthetics and ethics, trespassing in those horizons of independent value.

The themes of the paintings possess characters and subjects related to the dynamics of motion and strength.

Her creations are as a voluntary act of liberation from anything that exceed the strength of the material, pure and simple, culminating in a will to live where the bodies in action express all their energy.

Anne Lise Kaaby is a figurative abstractionist painter. She demonstrates excellent mastery in the use of brushes to paint the human figures, to smooth faces, to create magnetic and magic gazes as well as to show abstract vibrant forms of life.  Her style doesn’t identify in the bottleneck of recognition at all costs.

In portraits or in the abstract or in the pictorial journey of her artistic life, she seeks the limits, she reaches new horizons using colors, brushes or spatulas. In portraits shines the mysterious trait that gives life to a two-dimensional face, breaking decidedly from her counterparts.

The Anne Lise Kaaby’s abstractionist painting has something different from the usual stereotypes, it goes beyond the concepts and ruminations asphyxiated hovering in a new space, never tested.

She is a painter who works with great creative force, which pushes her towards the only reason for living that binds to the art world with great pride and visual purity.

The basic elements of the language of painting by the Norwegian artist, recognize through the color in a space defined by a concrete existence materialized from the form.

The content material of her "form of expression" is synthesized from an artistic ensemble that plays songs that really caught glimpses into some of the salient signs, interior and exterior, in the absence of her past and the perceptiveness of her emotions imprinted on canvas .

Through the strength of chromatic tones used, it appears that the desire to express themselves through a metaphorical synthesis aimed to achieve cultural reverberations that occur as a subsoil of symbolic "forms".

The images she conceived, drawn as a veritable "spiritual vibrations" are the result of a closed series of visions that explore her imaginative psyche on which rest the campite many areas of pure color.

How pure bodies suspended in space, the works of Anne Lise Kaaby, represent an interior that must be analyzed and interpreted. They are what they are and also what they mean are: there is a sense and a meaning, a soul, which physically manifest something that is imprinted on the canvas.

The profile fragmentary and circumscribed figures and the characteristics of their boundary environmental referred to by the artist, are the highest expression of a semiotic mechanism that sets in motion the meaning of every gesture of an act which aims to abstract painting.

The analogy or metaphor of the "pictorial space" and the "physical space", takes an important factor of communication, where the relationship "physics" of an influence unreal color is given by the symbolic function which then takes through the materialization of the form .

For Anne Lise Kaaby the "inside" of the magmatic material is a spiritual thing where the images that are generated will receive a germination interior.

The spirit is pure profile a wealth intimate and soul, however, is one that tends to desire to love, to hate, to dream and imagine. These two powers between soul and spirit if they join together collide in this painting.

All works are characterized by bold and bright colors, imposing its symbols of an ideal geometry in the form of multiple fragments, Anne Lise Kaaby try to insert in the ideal world of geometric art a trace of the social landscape contextualized in social work.

Her work can often be reconnected to the first phase of the current cubist which then flows into her line of reworking of social criticism and reflection on the condition of the contradictions of contemporary man.

In Cubism the subject is broken up, analyzed, and reassembled in an abstract form. The artist tends to portray the subject in a more varied, portraying it from different points of view. The background and perspective planes interpenetrate, creating an ambiguous space characteristic of Cubism (the most influential artists of this movement were Pablo Picasso, Fernand Léger, Georges Braque and Juan Gris).

Anne Lise Kaaby always tends to not be the lyrical dimension, inner, spiritual, but a concrete reality, and this is clear from the choice of her subjects.

The traditional representations of reality seem partial and against, develop a painting technique that marks the dissolution of the traditional approach, namely the so called Renaissance. Starting therefore from meditation on her work, the work stylistically point to a reorganization of the pictorial space, enhances the synthesis of plastic forms and while developing a reading of reality in volumetric key, thus multiplying the points of view according to which the subject is represented observed.

To achieve this goal Anne Lise Kaaby break the painted surface into pieces, small surfaces that record each a different point of view, so that the viewer looking at the picture can make a sort of virtual tour 360 degrees in space and time.

In fact, the of Kaaby’s production is configured as a sort of media art, often taken from a pseudo conceptualization educational visual themes that are sometimes purely random, creating a quirky phenomenon, but at the same time exemplary system in the current art.

The interpretation of Norwegian artist is as accurate as laboratory analysis, where the structure of the image in its subject is well summarized in the expectations of mass culture. They communicate a narrative content, a factual history that belonged to the global culture of the contemporary world.

By isolating each subject and reassembling trapped in a frame, tries to steal those icons globalized the concept of normal wear and reconstructs the tissue through the use of a customized grid.

Retrieve thus the archetypal image, which is the date from the first conception of the design, but the translation of that image-sketch hypothesized with a different code of signs makes well reproducible also in series regardless emulation of all.

Anne Lise Kaaby points out in her canvases the news of communication that stands out as a prevailing classical temple, thus appearing as an image of the whole highly motivating her own reductive process deletes all information deemed necessary to isolate those who, instead, have to strike and affect the reader.