2010. [SURFACES], Galerija Mala, Zagreb

(…) Is it possible that text exists but does not exist by itself? Exactly; in the hands of a painter / texturologist who is either going to let the text speak or else with texturological operations (as when in Labyrinth III, 2009, she fills in a square shape with eight right angled triangles in which there are texts that do not function as such) will prevent it working textually in order to work texturally instead. For texts are read and understood, textures are looked at (at leisure, perhaps, even spelled out) but without understanding. The right angled nature of the triangle has cut out some of the subjects and predicates, swallowed parts of words, i.e., parts of the sense, made it impossible to follow the text logically, for it has been transformed into mere building blocks for the construction of a picture. The crack, which means empty, is not though just empty; because it is a part in a context, an element in a Whole (a Totality) for collaborating with the Other it changes itself and that Other, gives the Whole a new meaning. Its sense, the sense of the break or crack is of value equal to that of the pause in music.

In these procedures, Anabel is, looked at in terms of visual art, very free and emancipated, sometimes highly rigorous and disciplined, choosing textual units that have a fully rounded sense, in which some key words will occasionally stick out. But it has to be said that notwithstanding the readerly attentiveness, and the choosiness that will sometimes occur, she does not write out texts for them to be read letter by letter, for her target is the observer and not the reader. The original texts she uses as material for the painting turn into some kind of rented space, but it is not hard to imagine possible events in which there might be ever fewer of them, and letters ever more, that is, characters, a-textual material. (…)