Anna Laurini’s work is shown on a Lower East Side wall alongside other prominent New York City artists and the advertising posters that themselves have become a staple of urban public space.
Biography: Anna Laurini was born in a small town near Milan, Italy. She lives primarily in London and New York, but occasionally returns to Milan.
Medium: Mixed, from acrylic to collage and any sort of recycled materials. Primarily focusing on the abstract style.
Education: Art Student League Academy and Fashion Institute Tech in New York City, and Central Saint Martins Fine Arts College in London.
Laurini’s work is inspired by the abstract expressionist movement, which is obvious when observing the energetic movements of her work, as well as the large scale of many of her pieces. The elevating quotes that often accompany them give simple philosophical messages pertaining to living a creative and fulfilling life. These messages can be seen as universal and are easily appreciated by the common passerbyer – a way to break the monotony of everyday surroundings. Her outdoor pieces are an attempt to bring a fresh perspective, as well as to reinforce an appreciation for the unseen or unnoticed beauty throughout the community. Street art for her is ultimately a self-necessitated urge to give something back, as opposed to a mere tool for personal promotion.
Laurini’s work displayed along the Williamsburg Bridge.
Democratization of art
The aesthetics of public art creates a sense of attachment and pride within a community, generating a cohesiveness which is vital in creating a platform for dialogue. Atypical to contemporary tradition, Lauriniʼs artistic progression has seen a transition from studios and galleries, to street corners and urban sprawls, allowing her work to become accessible to everyone in the community. She mixes elements of graffiti with elements of fine art, resulting in demand for her art from a broad spectrum of art lovers. There are a select few people in the art world who decide what should be appreciated and celebrated, which is why street art plays a vital role in providing accessibility to all. By abandoning the hidden price model of the gallery art world, Laurini’s public art provides an empowering step towards the democratization of art.
Using her signature image on pages of recognizable magazines is a successful attempt at reclamation.
Laurini focuses on faces (also the title of her series), which is often what these well-known magazines do. Whether it’s a magazine like Vogue, which focuses primarily on bodily aesthetic, or The New Yorker, which often features profiles of well-known artists or individuals. By putting this unidentified face (her signature piece) on the pages she raises a discussion about the faces that are and are not presented to the world. We are inundated with faces every day. Hers, marking magazines or splattered onto a wall or walkway, actually make us stop. Her identifying symbol allows the viewer to question their perception of beauty and success. The symbol works as a force that has the power to shape new perceptions. The act of reclaiming mainstream platforms of beauty and success standards allows for the development of inclusive standards that pertain to a broader range of people. The value of Laurini’s work is invaluable to the continuing efforts to democratize the arts.
For more on Anna Laurini
Description: Live painting at a gallery showing of her work in SOHO London.
Description: Montage of the artist in New York, showcasing her work throughout the city. The camera follows her throughout the city as she applies her artwork on walls, posts, etc.
Description: The artist paints to the music of Sophia Munoz in NYC. A mesmerizing combination of mediums.