ELISABETTA DI MAGGIO

Annunciazione #02, 2025

oxidized copper

cm.h. 170 x 123 x 22

Provenance: the artist

Here, two dragonfly wings stand out from the white wall: very thin, incised in oxidized copper, they vibrate in an intense green, the color that was often used in medieval and Renaissance painting for the wings of angels in images of the Annunciation. A shade charged with meaning: green is gravid with expectation, a symbol of transformation, while copper, in alchemy, is linked to Venus, to beauty and creativity. As Elisabetta puts it: “The wings of dragon ies have a membranous structure, with a complex pattern that recalls the stained-glass windows of cathedrals, as well as the structural skeleton of a leaf.”

Elisabetta Di Maggio’s first solo exhibition at Christian Stein was presented in 2018.

Elisabetta Di Maggio lives and works in Venice. For many years, she has been conducting research that emphasizes two salient elements of life: the network of communications necessary to transmit information and the time required for these actions to occur. She has been endeavoring to exhibit the close connections among the plots, circuits, grids, structures, and networks belonging to different environments.

She has taken part in numerous solo exhibitions, including:

Elisabetta Di Maggio. Punto improprio, Galleria Christian Stein, Milan (2025); In-Attesa, Studio Trisorio, Naples (2023); Mapping the air, I.F.A. Gallery, Berlin (2023); Elisabetta Di Maggio, Galleria Christian Stein, Milan (2018); Greetings from Venice, Fondaco dei Tedeschi Venice (2018); Natura quasi Trasparente, Fondazione Querini Stampalia, Venice (2017); Disnascere, Fondazione Bevilacqua La Masa, Venice (2012); I change but I cannot die, Laura Bulian Gallery (2012); Francesco Girondini, Verona (2004); Galleria Viafarini, Milan (2005); Il tempo è come il luogo, Galleria Alberto Peola, Turin (2001); Islands, Arco-Madrid (2001); Studio Barbieri, Venice (1999).