Born in 1990 in Kurgan (Russia) and obtained her art education at the Moscow State Academic Art Institute named after V.Surikov.
The main interest in her works concentrates on the human body and its sensible representation in different dramatic environments. She transcends the scenes from reality, expressing often a dark and disturbing strangeness. Playing with the representation of myths, Anna-Maria Pangilinan elegantly composes hypnotic and fascinating paintings, where the characters, as well as places, seem wholly linked to the elements.
After moving to Paris in 2014, the artist began to experiment with inventing her own artistic language and the creation of her world. But it’s important to remember that, as a former student of the Russian Art Institute (an art school promoting the classical nineteenth century’s academic values, mixed with the soviet painting heritage) she had difficulties integrating the international art scene. Even with skills she acquired there, Anna-Maria had to learn, to think and to analyze one's artistic thought in general. The multicultural brightness of her new life in Paris helped to develop and finally find her proper artistic language.
Moreover, this fusion of classic academic education, and the new artist’s experience in France took shape into an artist’s plastic and anecdotal way of expression. From her early works, where Anna-Maria used acrylic and oil and depicts common images, she gradually built her own mythology. In respect of the term itself and enriched by her academic background, the artist works with simple concepts, such as places of genesis, represented as the dark swimming pool. The pool and the space near the pool are a theater, where everything happens. The scenes and the staging itself are always clear and perfectly built. In order to fully understand the work of the artist, we definitely have to try to see and to feel the “between” of what we see and of what looks back at us. As Georges Didi-Huberman explains in his “What We See Looks Back at Us”: There is no choice between what we see (with its exclusive consequence in a discourse which fixes it, namely tautology) and what looks at us (with its exclusive grip in a discourse which fixes it, namely the belief). There is only to worry about the “between”1. In other words, that is what the spectator has to see in the work of art, the feeling that the artist is transferring. In the words of Roland Barthes this is exactly the punctum of the image itself. It’s a personal reaction which links the character to the spectator.
The “preservation” of a particular image in a memory, fascinates Anna-Maria in a particular moment, and becomes a main artistic goal. Everything is meaningful: the situation, the time of the day, the light, the smell, the mood, and of course the object or the concept itself, in this precise context. Then she devotes her intimate relationship and perception to this experience, not only visually, but by mustering all her senses. The uniqueness and the consciousness of that impression and the subjective experience of it are the main artistic value. To be able to do this, she has to be in a constant state of research, comparing herself to a phenomenological investigator, guided by the invisible threads of the net of feelings and experiences which cover the ontological world. For being an artist it is necessary, whenever possible, to find a possibility to be an outside observer, in a quasi-scientific way. This is why it is a manner of an investigation, in order to seek again, every time, this experience, which at first glance may seem a simple task, yet is in fact the main difficulty, for one should keep in mind the following simple yet strong idea that, in a familiar environment, all the tools of artistic perception are blunted. It is in other words crucial to be at the same time deeply touched by the world, yet hold on to a distanced glance on it – “le regard éloigné” of Claude Lévi-Strauss applied to visual art.
Anna-Maria Pangilinan functions with this dichotomy, this everlasting paradox, the association of permanent, hard, spiritual work, and a phenomenological quest, a quest where every new target is a grail, where any change of scenery helps to see things with a new eye.
Anna-Maria works in different techniques, such as: acrylic, watercolor, Indian ink, collage , clay and digital painting.
1 Original citation : « Il n'y a pas a choisir entre ce que nous voyons (avec sa conséquence exclusive dans un discours qui le fixe, à savoir la tautologie) et ce que nous regarde (avec sa mainmise exclusive dans un discours qui le fixe, à savoir la croyance). Il y a, il n'y a qu'a s’inquiéter de l'entre », Didi-Huberman Georges Ce que nous voyons et ce qui nous regarde. Paris, 1992, p.16
Education
2013 Moscow State Academic Art Institute named after V.Surikov, Master’s degree (graduated with honor), Moscow, Russia
2007 Moscow Academic Art Lyceum of the Russian Academy of Art, Bachelor’s degree
Exhibitions
2018
“Prix de dessin Pierre David Weill” Académie des beaux-arts, Paris
2017
NEW YEAR'S AUCTION SAMPLE, Triumph Gallery, Moscow
2016
“Young Russia” Central House of Artists, Moscow
2014
“Time ahead!” Central House of Artists, Moscow
2013
-"Moscow - 2013. Space for living. Space for creativity" Moscow
- Group exhibition " Paintings of three: from resistance to the expression of artistic form" with Dmitry Lushnikov and Paulina Sinyatkina. OPEN CLUB gallery, Moscow
- MOSH "Youth - XXXIII" Moscow
-“ The young Russia” Moscow Academic Art Lyceum, Moscow
2011
MOSH "Youth - XXXI" Moscow
2010
"Young Artists of Russia" Central House of Artists, Moscow
2006
“Workshop 2006” Moscow Museum of Modern Art, Moscow
Awards and Grants
2012
Russian Academy of Art, golden medal
2007
Russian Academy of Art, golden medal
