Interested in the decorative element, Ana Elisa Egreja is reproducing in her paintings embroideries, prints and, more recently, ceramic tiles, to create a bottom on which to arrange the figures of animals that dominate the composition. If in some cases, since in the work Flamingos, the beauty of the picture is luxurious and transbordante, without any sign of threat, in more recent paintings the artist opted for scenes of contained violence, in which dogs they hold in the mouth dead birds. The contrast between the brutish scene and the decorative bottom, in spite of cutting, is eased by the homogeneous bill of the stroke, to which it seems to corroborate the theory of which both motives, the decorative thing and apparently superficial, and the shocking reminder mori, they do not stop being, how we were saying before, mere pretexts to paint.
source: Jacopo Crivelli Visconti, Galeria Laura Marsiaj, março de 2009
(translated from portuguese)