‘‘IT IS SIMPLY NOT JUST ABOUT EMOTIONS, IT’S ABOUT FINDING THE BALANCE’’
Visual Artist & Workshop Facilitator
Annamaria Michela Antonazzo is a London-based visual artist and art educator whose practice is rooted in eco-sustainable painting, material research, and a commitment to art as a tool for emotional and social inquiry. Her work spans painting, drawing, and printmaking, with a focus on focusingrials such as handmade egg tempera, earth pigments, cyanotype, and recycled or raw supports including jute, canvas, and paper. This material consciousness reflects a deeper ideological stance: a refusal of speed, waste, and synthetic permanence in favour of fragility, impermanence, and process.
Central to her artistic research is the relationship between memory and oblivion—how identities are formed, buried, or resurfaced through time, repetition, and transformation. Her paintings are often slow constructions, layered and eroded through acts of addition and removal, echoing the emotional labour of remembering and forgetting. The body is frequently present, not as a fixed form, but as a trace, an open wound, a fractured symbol—a place where history, violence, and desire are sedimented.
The work takes on a ritualistic dimension: painting is not simply representation, but a means of summoning presence, confronting silence, and engaging with vulnerability. Rather than pursuing beauty, the practice embraces rupture, imperfection, and the quiet resistance found in form and texture. Gestures are repeated, altered, erased—mirroring how lived experience is rewritten and re-experienced through memory.
Alongside her studio practice, Annamaria Michela is deeply engaged in art education, which she views not as a side activity but as an integral part of her mission. Her workshops are grounded in material exploration and collective making, offering inclusive, reflective, and tactile experiences to participants of all backgrounds and skill levels. Whether in community centres, galleries, museums, or outdoor environments, her facilitation merges traditional techniques with accessible approaches, aiming to reconnect participants with the joy, vulnerability, and agency of creative work.
Her educational ethos draws from a belief in art as a shared language—one that is embodied, necessary, and socially conscious. In each workshop, participants are encouraged to not only learn techniques, but also to observe, feel, and listen: to their materials, their gestures, and their own stories. Themes such as sustainability, care, ecology, and the emotional resonance of materials are interwoven into each session.
Her research is informed by cinema, philosophy, and literature, as well as the visual language of figures such as Francis Bacon, Marlene Dumas, Tracey Emin, and the cinematic poetics of Tarkovsky, Sorrentino, and Lars von Trier. Across both individual and collaborative projects, she continues to develop a language that is introspective yet relational—committed to presence, process, and poetic interruption.
Her work resists the decorative and embraces the honest. She is not invested in finished forms, but in moments of disruption—where the surface opens, where meaning slips, and where something vulnerable is allowed to emerge.