Annette Kais's artistic research starts from an attentive look at nature, from a sincere fascination with the elements of our daily environment. But it is not a passive gaze, which only captures the contingent, changing aspect of things, nor does it stop complacently in the sensitive appearances of objects, because hers is an incisive observation, a penetrating, constructive vision, which seeks to rescue the structures of the visible world, shapes, volumes and matter itself through the colour of objects. Annette does not paint ‘still lifes’, her objects are completely alive: branches loaded with fruits suspended on coloured backgrounds, stains that structure the non-referential space of the painting (or the non-space of the canvas) in perfect balance between colour and shape. Her paintings alternate the figurative and the abstract in a permanent movement that is also the affirmation of a purely pictorial search, since the motifs seem to be only a means of exploring their own realization in painting. The brushstrokes themselves speak an artistic language alien to the motifs, an entirely visual poetry. Lemons, tomatoes, apples, onions, aubergines, grapes, flowers, humble motifs that are incessantly transcribed into shapes and volumes that are inscribed on a surface of lines, fillings and glazes of colour translated into watercolour, acrylic and oil. The implicit meanings are mere evocations regarding the set of techniques used and the plastic solutions tried over and over again. And although the aesthetic power of the works is contained in the very structure of the pictorial space, since the painting is not an imitation or a copy of nature but its transposition into a specific space, the resounding presences of the fruits that emerge from these clear geometric structures also speak of the constant rhythms of the cycles of nature and therefore of life itself. Marisa García Vergara (Prof. History of Art and Architecture)

Starting from more traditional still life, the artist has developed a painting that allows a balanced game between abstract backgrounds and concrete organic forms. It works on a fabric of layers of paint of different densities, sometimes more transparent or more opaque that overlap forming a set that evokes sensations of diverse harmonies or disharmonies. The protagonists, fruits, vegetables and plants, who accompany us during the different seasons of the year, are visible in their different stages of maturity and some even break away from their origin looking for their own path inside or leaving the picture. She uses the mixed media, starting with water-based dissolving colours such as watercolour, gouache, and acrylics, often overlaying oil paint to increase the intensity of the colours. By Cartò Galleria