After moving to Paris, Anna-Maria Pangilinan, a graduate of the Moscow Fine Arts school, begins to experiment on the invention of her own artistic language and the creation of her world. Her universe is filled with neon colors, black holes and insecure characters.
In her work she is exploring the problem of the influence of the environment on the artist’s conscience. Following the steps of Maurice Merleau-Ponty, the phenomenological aspect of art is the fuel of her creative thought. Testing the thread of the world's web of interrelated elements, a web both physical and ideal by its components, she thus adopts a holistic posture, focused on prints left by things and concepts.
The classical barriers of genre and style are blown away : everything and anything deserves to be passed through the filter of aesthetics, as much as all the terms of the worldwide equation interfere on each other, leaving an infinity of prints and mutual influences, to translate into the language of art.
Some terms of said equation appear more often than others throughout her works : swimming pool, dark water, disturbing heroes. The "preservation" of a particular image in a memory, fascinating her in a particular moment, is becoming 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 needs to devote her intimate relationship and perception to this experience, not only visually, but 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 covers 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 seems a simple task, yet is in fact the main difficulty, for 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 keeping a distanced glance on it – le regard éloigné of Claude Lévi-Strauss applied to visual art.
Anna-Maria Pangilinan functioning 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, any change of scenery helping to see things with new eyes.
“Prix de dessin Pierre David Weill” Académie des beaux-arts, Paris
NEW YEAR'S AUCTION SAMPLE, Triumph Gallery, Moscow
“Young Russia” Central House of Artists, Moscow
“Time ahead!” Central House of Artists, Moscow
-"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
MOSH "Youth - XXXI" Moscow
"Young Artists of Russia" Central House of Artists, Moscow
“Workshop 2006” Moscow Museum of Modern Art, Moscow
Works held in private collections in Russia and France.