Born in Vicenza, she lives and works in Vicenza and Venice. After her high school diploma, Antonia Trevisan studied at the Faculty of Sociology and decided to begin a career as a teacher, focusing especially on graphic composition and photography. In 1988 she founded a company to design and manufacture artistic glass windows.
“Ms Trevisan’s unceasing need for experimentation and her versatile craftiness are particularly evident when referring to glass. In fact, it’s exactly through her relationship with the huge blown glass sheets with which she approaches “abstraction” and looks furthermore for more drastic outcomes in terms of rarefaction and shape simplification. (*)
Painting – considered as a sort of binding which draws together all her activities – becomes public only in 2020 when she finally decides to exhibit a synthesis of her thirty‐year career: first in a solo exhibition at the Saint Silvester Monumental Complex in Vicenza then, on occasion of an anthological exhibition in the evocative factory of Saccardo in Schio (VI) which was followed by a remarkable series of shows both in Italy and abroad.
“She reclaims the typical language and the technical styles belonging to the avant‐garde movements, in particular to some techniques invented by surrealists such as dripping and grattage. Using this methods the artist conveys her emotions to the pictorial surface with quick gestures and signs, almost tracing her life paths on what she produces. Since the 90s she has been experimenting and assembling new materials such as aluminium, different types of paper, weathering steel, lead, forex, polypropenem and plexiglass. Her tireless (almost sensual) relation with materials – of which she enjoys different textures and structures – leads her to go beyond the distinction between painting and sculpture forming a solid exchange with Informalism”. (*)
Fascinated by the multifaceted aspects of Arts she conceives her own personal style through the use of the most diverse materials. Via her works of art she studies the relation between spirituality and substance (“Tracce, l’ospitalità della materia”, Vicenza, 2010), the connection between existence and the body (“Synaptic space”, Venice, 2013), the correlation between art and psychoanalysis (“Gradiva”, Milan, 2015), the theme of bonds and freedom (“Bondless”, Venice, 2016), the relation between art and medicine (“Cicatrices, “Ginevra CH“, 2016), the contrast between violence and compassion (Cibiana di Cadore, 2016), the reflection on embracing (“Refectory“ , Venice, 2017), the art of glass (“Il nido di perle”,Murano Glass Museum, 2018; Cà Vendramin Calergi, Venice, 2019; Villa Hériot, Venice, 2020; Borgo degli Artisti, Biennio, 2020).
(*) Dott.ssa Margaret Binotto – Art Historian