anna bellyat giunta (usa)

1. tell us about your everyday environment,
your hobbies and lifestyle

2. what do you see as the point of your works?

3. tell us your thoughts on the problems printmaking is facing today ? what might they be and where's the solution?

4. do you use computers in your work,
and if so, how do they help you and what do you think of them?

5. what do you think are the best and worst sides of print art?

6. what does printmaking give and mean to you?

7. where did you get the idea from to take part
in the tallinn print triennial?

8. your favourite artists?

my works are investigations of place.
my detachment from my original place of birth brings me to the path of an extended sense of "home".
this concept has multiple meanings, going beyond mere shelter; relating to an individual's stability in his relationships,
his country, his cultural group and humanity.
characteristically for the modern period, my "sense of home" is fragmented and composed of numerous parts.
as a child of communist russia, my understanding of home equalled community: living together in a "communal" (many rooms one kitchen) or in a planned community of neighbourhood buildings surrounding a community centre. in the united states,
the idea of home has a completely different meaning.
it becomes a concept of ownership: acquiring a house with a yard, separating it from others, marking the territory.
in southern france, separate houses are grouped together around
a square. similarly, the community meeting on the main square is extremely important to the individual members of the township.
i peel these cultural layers, transforming them into
new kinds of environments, where the interior and the exterior exist in one entity.
the fine line between the two opposed spaces is similar to the one between the grotesque and the beautiful.
this line is fragile, yet powerful enough to project the energy of my body in relation to any other given body, any other experience.
that's why i chose the mediums that are the most violent and most direct in transmitting the energy of the mark.
drawing has this quality, so does etching.
i scratch, burnish, erase.... additionally, in etching,
there is the opportunity to create image matrixes, which can be further developed through transformation and rearrangements.
therefore, the initial image is simply a first step.
similarly, i am attracted to the events of everyday culture, our social mischief, that for me relates to displacement.
a present body of work speaks of the 58 stowaways who suffocated in an enclosed truck this summer.
they were on their way to england towards a new kind of life. what happened to these individuals is an example of human degradation.
in this case the representation of humanity is a sort of mutation of both sexes, hermaphrodite of its one wrongdoings, innocent as a child, but obligated to face the consequences of its actions. in my work i render this being with care, as i describe the calmness of the body in a not so peaceful world.