Irene Anton manages and furnishes space with the skill of a set designer, but rather than moving on the boards of the stage in a theatre, she manages unusual open spaces.

Above all the artist loves to live in contact with nature, to create fantastic links by interweaving installations structured in harmony with the trees, the branches, the ground covered with dry leaves, the surrounding environment: amidst the branches of a clearing in the woods or linking the pillars of a church, she stretches chains of synapses that call to mind those highly specialised structures that allow the cells of the nervous tissue to communicate with another, or with the other sensory cells. If fabric is mentioned it is not by chance, for in this conceptual operation one can sense the constant, living and active presence of the artist, a thinking mind, in the spacious cloister that she proposes. The artist is therefore the fulcrum of the installation, which springs from an idea rooted in a creative and formative process that emerged through studies carried out in textile Art Academies, such as the Art University and the Academy of Fine Arts in Berlin, dedicated to fashion and textile design.

Faced with Anton’s installations, the observer cannot fail to notice the playful character of the invention, for the choice of primary colours on her palette, the bright tints, the polychrome effect of the whole. A meeting with her works initially triggers curiosity and the joyful tension of childhood, immediately followed by considerations of our own essence.

Anton does not conceal her playful intent to enrich the “feast of life” by putting her creativity at the disposal of all those who want to capture the fleeting moment, like revellers: her installations in public and private spaces are famous, with multicoloured banners blowing in the wind, like the Windwogen Project.

text by Nevia Capello