“(...) Antonella Agesta’s paintings recognized this and began to make that outward movement. From her early gloomy interiors, steeped in a domestic metaphysics, through miniature paintings in dialogue with ornamental furniture that serves as a platform for approaching and observing (a ladder used to lean out), to her Antosophies paintings, in which windows and doors open, veils are drawn back, gardens appear, Antonella’s work focuses on the mutual need for inside and outside, on the symbiosis between imagining and inhabiting. Based on these two post-Victorian nuclei, she modulates her love for the feminine. (...)”

Barbara Golubicki