A series of 18 monochromatic oil paintings on raw linen. The series depicted cartons, rotten fruits, garbage, and end-of-the-day leftovers at the market. The starting point for the series is a large-scale painting, homage to Millet’s iconic realist painting The Gleaners, 1857. Anavy painting process was based on a details from a photo in a newspaper, at the economic section about the poverty index. Anavy focused on the movement of the figures and the patterns of the garbage piles and egg cartons.
The series continue Anavy’s dealt with the subject of photography and painting, and in the press photographs she chose carefully, she examined the way an image change from press photography to painting. In recent years Anavy works in oil paintings and monumental ink paintings. The featured works are engaged in the act of painting, deconstructing, and assembling charged images. The images chosen by the artist for this purpose are taken from reality social complex that surrounds us.
Anavy aspires to create a new universal unit that transcends the local context and becomes a metaphor. This is done by isolating the image and removing it from context. It is true that disassembling and assembling a familiar image creates new associations that lead to the model of another new meaning, mainly social, but at the same time, the works that are made properly drawn from daily reality, are not without political connotations and other.
The everyday environment is translated into paintings that move on the continuum between a familiar image and an abstract one, while the painted images in them appear as floating fragments.