Originally extracted from trees to produce resin, today fiberglass is mainly made with synthetic materials. Annalú sculpts with this medium, using the material’s transparent color to compose three-dimensional paintings.

A native of Venice, Annalù gives us fascinating contrasts of pure feminine sensibility – fragile lace spiderweb patterns, heart-shaped arrows hurling themselves at pierced books, and jets of water roaring down surfaces like swollen waterfalls.

The artist has an elegant, refined, and ingenious aesthetic. Boeretto’s work is apt for embellishing formal environments like luxury hotels or cultural centers, and smaller works like Splash and Jewels are perfect for intimate spaces. Courtesy of Galleria PUNTO SULL’ARTE, we are offering works up to 30th  of March that can enhance any home.

Though they seem fragile as glass, these works are easy to conserve due to the hardiness of fiberglass and its plastic-like structure.

Digital Exhibition curated by Sarah Spagnuolo

Awards and References: Arte Laguna Prize Painting and Sculpture Section: 2007 (2 Prizes) 2008 (3 Prizes); 2006 White Pages Award; 1 Stonefly Prize for Contemporary Art 2008; 2011 Hour Award; 1 Opera le vie dell’Acqua 2012 Award; Zaha Hadid Biennale of Salerno 2016 Award.

Museums: GAM Bologna, Museum of Natural History in Venice; Rocca Paolina of Perugia / Burri Foundation; Palazzo Ca ‘Capello of Venice; Palazzo Ducale di Pavullo (Modena); Benetton Foundation; Museum of Santa Caterina Treviso; Archaeological Museum of Vasto (Chieti); Church of San Francesco in Como; Church of San Salvador in Venice; Rocca dei Rettori in Benevento; Palace of the Popes in Viterbo, MACS Catania. Moya, Vienna; SDAI, San Diego.[/dt_vc_list][/vc_tab]

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  • Nefes: alchemy of a breath, Galleria Punto sull’Arte Varese, curated by Alessandra Redaelli.
  • Moon zoo + Bi-personal Shaman Elena Monzo-Annalu ‘Gilda Contemporary Art, Milan curated by Cristina Gilda Artese.
  • Hagakure, Spazio Artè, Lugano curated by Gammert & Partner AG.
  • Annalu ‘, Four Seasons Sheraton Shenzen, China curated by Charly Darwich.


  • Frozen Instant, Parkview Art Gallery Hong Kong curated by Consulated in HK and Parview Art.
  • A Drop of Sunshine in Cold Water, Gallery on Fifth, Naples, Florida USA curated by Gallery on Fifth.


  • Frozen Moment # 2, GT Land Plaza, Central Guangzhou, China curated by Parkview Art Gallery.
  • Flavors of Art, Conrad Hotel Hong Kong curated by Parkview Art Gallery Hong Kong.
  • Frozen Moments, Parkview Art Gallery Hong Kong curated by Elaine Kwok.
  • Simulacri, Galleria Gagliardi San Gimignano curated by Alessandra Redaelli.


  • Liquida – TransApparenze, Galleria Davico, Turin edited / curated by Carlotta Canton.
  • Annalu ‘, Lumi Hotels + Ho Ho Arts Gallery, Taichung, Taiwan curated by Roy and Yang.


  • Codex, Galleria Gagliardi, San Gimignano, Siena, curated by Stefano Gagliardi.


Q: When and how was your love for fiberglass born, what is your favorite material to work with?

This is a question that I am asked many times, especially because people are wonder how I have been able to work this material for so long as it is a difficult and dangerous material in its liquid state.

I came across the resin when I was still in the Academy. I needed to work on transparencies and light and I was simply looking for the most suitable material to put in content.

For me the constant challenge has always been to combine a little emotional material with an expressive language that wants to be full of wonder, freshness, and poetry, and I have learned over time to control chemical reactions through thoroughly experimented research.

This material immediately married my contemporary vision of sculpture whereby shapes are lost in the name of immateriality and melt like snow in the sun, becoming only footprints and memories.

Q: Your works seem liquid moving matter that, impressed in an indefinite time, crystallize in shapes and colors that are almost mystical. Where does your inspiration come from?

The world of nature attracts me but my visions try to translate natural forms into contaminations that have to do with contemporary ambiguities and paradoxes.

The micro and the macro cosmos together with the concept of metamorphosis in my work is a constant and is a mixture of many things. So in nature and nature I observe. I listen. I reflect. Reworked.

I am interested in the transitional moment from one state to another, between different realities, and I share an attitude very close to alchemical science. It is in that transitional moment that I am wholeheartedly interested and it is precisely in that moment that I try to block time and space through resin, creating what I call dynamic equilibrium. The operation I carry out is not so far from transmuting one subject into another. My many water splashes, the liquid architectures, the butterflies burned inside the resin tell an expanded time in which the shape has the value of a mandala.

I therefore have a very dilated perception of time because in my many attempts to stop the flow in the resin I try to put the attention between what was, and what could be.

In this sense Time becomes Memory within the work.

Q: Your works communicate the fragility of time, due to their subtle and transparent matter and formal disruption. Does this contrast represent you? Or do you feel more fragile or disruptive?

I’m both. I am the transparency and the opacity, the apparent fragility structured with strong invisible fiber; they are disintegration and assembly; they are the matter that is blurred and the ink liquefies. I’m a hybrid in constant transformation.

Q: Can you tell us about a difficult moment in your artistic career and a good moment and what did you learn from both regarding the art world?

I experienced a difficult moment in China when I prepared a personal exhibition in Shenzhen for 3 months, which I would then exhibit in Hong Kong. I was late with the production and during the week there were three jobs ruined, I was anxious, in a state of crisis because I was alone and convinced that I would never recover the energy to make the promised pieces. I remember that Sunday in the studio, and then in my room watching the sea with a very strong storm. I remember how my mood was perfectly in line with the lightning and thunder that dumped all the power in the ocean.

I have several beautiful moments: these are images to which I return when I am creating.

A wonderful moment was the emotion felt during my first solo show at the Galleria Forni in Bologna in 2010, another was in 2014 during the presentation of artists and inauguration of the Parkview Art Gallery in Hong Kong and the fantastic dinner of artists and collectors in the 7 towers of George Wong. I remember the climb up the hill with the private car where I saw the lights of the city below me, the opening of the door by the butlers, the 20-meter table with the fountain in the center, square watermelons and oriental perfumes. Other beautiful moments were the climb on the bell tower of my first 3-meter bronze in the Jesolo Lido Venice church and the eyes of my father immersed in reading my first catalog.

Q: What do you think about social media for art and for artists in general?

I started using social media a few years ago and I immediately used them above all as a working tool and as a showcase for my work.

Today, however, I tell less and less of my artistic life (the private one must remain so for me!) And I must say that I do even less posting because I have very little time to do it.

I spend a lot of hours in the studio and work incessantly. When I pause, I look, read, and put out some likes to show that I still exist and then I go back to work.

Many have told me that I should do a blog to express my emotions and to tell what happens in the studio because otherwise I might risk disappearing. Here is this fear to the “disappearance”, and in my opinion it has recently led to overestimating the role of social media, degenerating users to chase after likes. That does not belong to my vision of things.

However, I believe that it is an excellent technological tool but as such I think it should be mediated by more intelligent attention to words.

Q. Can you tell us three things that you love and three things that you hate?

I very much love the smell of my dogs, the sea, and the divine sensation when I create something new. The latter lasts very little but it is exciting.

I hate the fake modesty, arrogance, but more than anything else, the biased people who make ideas based on nothingness and in that nothingness construct malice.

Q: What is the work that you love the most and why?
Installazione altalena - Annalù Boeretto

Installazione altalena – Annalù Boeretto

There is no work to which I am particularly attached to. Each one represents a precise moment which is always in passing, it is transient and surmountable so I always leave every job without any kind of nostalgic feeling.

However, there is work that for me has created an important emotional catalyst, and presents itself to me as clear intuition almost like an image from the hereafter and that is why I feel it in a different way. This is Hermes of 2004; the installation of a swing of feathers that oscillates under a sky going from night to day.

Traditionally, it is attributed to this divinity, generated by the secret and nocturnal embraces of Zeus and by the nymph Maia, the simple role of messenger of the gods. More in-depth research reveals, however, that this role of divine herald is only a part of what Hermes represented in the ancient world in general, and in the classical Greek in particular.

Hermes was the protector of the crossroads, where the hermes with his effigy and the genital organ erected were placed to protect travelers and also was responsible for watching over the souls who embarked on the mysterious journey to the kingdoms of Hades (it was, in fact , the only deity, in addition to Proserpina and Hades, associated with life in the underworld), who protected the athletes and, perhaps in a deliberately teasing manner, thieves, traders and astute men (several times he helped Ulysses in his quest).

Moreover, the identification of Hermes with the Egyptian god Thoth makes it one of the symbolic incarnations of alchemical art and for me that mystical, esoteric, metaphysical and philosophical world is the pillar on which I base all my work

Because Annalù’s Work Represents a Good Investment:

  • She has a unique and unmistakable style.
  • Her career is a continuous crescendo.
  • In 2017 she participated in various fairs and was the subject of several exhibitions both in Italy and abroad. In 2018 she has already participated in two national and international fairs.
  • Many critics write about her.
  • She is a committed and productive artist.

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