From the beginning of her career she is intolerant towards academic rigidity of mimesis: she sets herself apart from reality; physical features are partially deleted and become the excuse for an extraordinary and new pictorial sensibility where action, matter and color merge in a tangled combination. The artistovercomes the specific individual forming universal shapes that aim to grow and include the landscape, another field of pure painting action. By doing so, she crosses the boarder of different genres.
Through evidences, second thoughts and repainting, traits, anatomies and details of the landscape are slowly deformed, destroyed and re-elaborated, becoming something else that slightly resembles their reference. Her painting becomes a formal and chromatic analysis, distant from aesthetic seduction, which is mainly limited to the use of cold and dark color range, influenced by contemporary German painting – the artist lives and works in Nurnberg – even if it is more a suggestion than an actual heritage.
Her continuous experimentation made of successful and unsuccessful tries, breaks and recoveries, proceeds with rejections and deviations, where ideas appear even if not always recognizable.
(Rossella Moratto, 2015)