[...] The interaction overturns and inverts the intertwining of techniques: there is a continuous knotting between suggestions and inner landscapes, between the inherent necessity of the modus operandi and the contingency of the messages, commensurate both from a technological and a human point of view. Indeed, the technical plan guides the new aesthetic codification: the placing of the technique materially and physically how to proceed in a frontal direction not only forces the various oral suggestions to a single course, but also submits the stimuli, the trends. [...]
[...] Annalaura di Luggo produces feelings of herself, of “life boys,” but, at the same time, she manages to speak of the history of the eye. Annalaura di Luggo “makes feelings” in a different way than we experience them, meaning that she produces them in a new way, not just re-produces, but produces something in which everyone can recognize themselves: “views” in which everyone can inhabit. Sight cannot live without art, for the simple reason that art cultivates the feeling of the eye--part to which it is attached--in the lives of others, in the colours of others, in the “life experiences of common sense.” [...]
Savannah College of Art and Design (SCAD)
Employing macrophotography to make a portrait of a person’s eye, she captures what looks to be the whole universe in a circular realm. The iris takes on a multitude of atmospheric colors, with the pupil becoming a metaphoric black hole. Presented in a giant format, her pictures lay bare the distinctiveness of each of her subjects - with the veracity of a fingerprint - while revealing an essence of their inner selves.
MADRE. Museum of Contemporary Art Donna Regina
[...] Developing a relationship of exchange and mutual interaction, the artist has favored tactile and oral contact in order to enter into a dimension of experience and behavior that explores the concept of “vision” itself, evoking and sharing its alternative forms. The works thus become metaphors of this reality: multimedia installations immersed in a darkness that is redefined by auditory components and tactile texture expressed in three-dimensionality. [...]
Annaluara Di Luggo, an artist based in Naples, elevates these concerns in Blind Vision, a remarkable and ground-breaking performative installation, curated by Raisa Clavijo. Her contribution investigates how deep misconceptions can run, when language and environment encourage the preconception that the blind and visually impaired community are somehow more limited than the rest of us.
Blind Vision is part of Occh-Io/Eye-I, a broader project in which you started photographing the irises of people from diverse sociocultural backgrounds. Since then, Occh-Io/Eye-I has taken form in different projects as different as the experiences and visions of the world of the people who participated in your interactions. Let’s talk about how it all began. Annalaura di Luggo – Occh IO/Eye-I is an artistic operation with the aim of grasping and offering an “amplified” rendering of a unique aspect of identity that pertains to all of us: the eye, but emphasizing the word “I” to evoke the singularity that distinguishes each individual.
Mann National Archeological Museum of Naples
Collòculi, the name of Annalaura di Luggo’s installation, is a word made up of two terms referring to “conversation” and “eye”: nothing could be more appropriate in a museum such as the Mann, which intends to present itself as a place of observation and reflection on ancient and contemporary societies. And the first assumption to make is that we can no longer afford to be, today, a mere place of beauty or even a treasure chest of an ancient golden age. Why? [...]
La Lettura, Corriere della Sera
[...] Annalaura di Luggo [...] nel 2019, ha intrapreso una sfida coraggiosa. Una mostra di arte pubblica, dislocata in alcuni tra gli spazi più significativi di Napoli. Nella Galleria Umberto I ha allestito un monumentale albero fatto di scarti di alluminio; di fronte al Maschio Angioino ha installato un arco fragile e luminoso anch'esso di alluminio; in piazza Santa Caterina ha collocato un albero metallico policromo; nel cuore dei Quartieri Spagnoli ha presentato una scultura specchiante occupata da zoomate su occhi, che sembrano fissare lo spettatore. [...]
Savannah College of Art and Design (SCAD)
At times, Annalaura closes her eyes to align her experience with those she interviews. When two people sit this near to one another, fragrance and breath intermingle to communicate something on a molecular level in the interaction between individuals. Both participants wear black, and the room is enveloped in complete darkness.
Uno jamás se plantea esta hipótesis o ese escenario. Sería demasiado terrible al estar nuestro entendimiento del mundo condicionado por lo visible, estando el tacto, el gusto, el oído y el olfato relegados a un papel secundario. Con todo, estos pensamientos me sobrevinieron cuando estaba inmerso en la instalación Blind Vision de la artista Annalaura di Luggo hace unas semanas en el Instituto Colosimo de Nápoles, una institución para ciegos y personas visualmente impedidas.
Il Sole 24 Ore
L’artista, un vero ciclone di determinazione e impegno dietro una maschera minuta, non è certo nuova a iniziative dirompenti. Già il suo progetto Blind Vision, con installazioni che hanno coinvolto dall’Istituto Colosimo al Carcere minorile di Nisida, con il progetto Napoli Eden (Forte della curatela di Francesco Gallo Mazzeo), si è impadronita di alcuni dei luoghi più suggestivi della città.
Francesco Gallo Mazzeo
Abstraction is what starts from a point, from a horizon, from a quid and no one knows where it comes from, because it is everyone’s city, but it is not perdition, it is not chaos, not a vain illusion, but a point in the universe where everyone will find their heaven and meet their destiny, perhaps with the same Agostino who writes Civitate Dei , while conversing with himself, with the one, with everything.
Francesco Gallo Mazzeo
Naples is boundless, has no low, has no high, does not have right, has no left, no horizon, no walls, has nothing of what is normal, taken for granted, narratable, explicable, to be judged. His epic novel it is a sublime that touches everything, escapes everything, unleashing an invisible force, an unknown power, which can be said with poetry, with a song, with music, with large smiles of joy, as with long cries of sadness.
The mission of the artist is to engender reflection, to call attention through his work to themes, ideas and situations that, due to their mundane nature, could pass by unnoticed. In Concerning the Spiritual in Art, Kandinsky spoke of the role of the artist as a privileged individual, an observer and decoder of his environment, a human being with the ability to identify, visualize and assimilate external stimuli, process them, pass them through the sieve of creativity and return them in the form of works of art. True art does not reproduce reality; rather, it provokes in the viewer the interest in discovering an aspect of that reality that at times is imperceptible at first glance.
Traiettorie orizzontali e verticali che, pur nell'assoluto minimalismo della monocromia, trasformano la superficie in libro aperto, in carta geografica, in rotte, in strade percorse o che avremmo voluto intraprendere, in spartito, in breviario, in linee della mano, in rughe. Non è metafisica né astrazione ma poesia della vita, biografia vera e narrata attraverso la suggestione del mito, del canto, dell'immaginario scenografico della messa in scena, dell'applauso, del trionfo. [...]
Francesco Gallo Mazzeo
Annalaura di Luggo, is the designating and designated architect of this Christmas observation that does not want to be drowned in rhetoric, but is proposed as a litmus test that may put together the present-past, the present-present, the present-future, because who dominates must be life, faith, hope that is a way to remain in tradition or classicism, with experimentation, with innovation, otherwise only folkloristic traditionalism and mortuary classicism will resist.
Writer, producer and movie director
The honor of sharing thoughts and ideas with Annalaura was truly inspiring and in my opinion, Annalaura is clearly one of the most gifted creative forces in the world of contemporary art today.
Superintendent archeology, Belle Arti and landscape for the municipality of Napoli
[...] Annalaura di Luggo in 2019 embarked on a courageous challenge. An exhibition of public art, located in some of the most significant spaces in Naples, Italy. In the Galleria Umberto I she set up a monumental tree made of aluminum scraps; in front of the Maschio Angioino she installed a fragile and luminous arch also made of recycled aluminum; in piazza Santa Caterina she placed a polychrome metallic tree; in the heart of the Quartieri Spagnoli she presented a mirroring sculpture containing huge eyes, which seem to stare at the viewer. [...]
From here, among the alleys of the neighborhoods and the joy of the scugnizzi, develops a great message of love for the environment and for the city. Annalaura di Luggo, with Napoli/Eden, is the protagonist of a new challenge in the sign and dream of art.