About

It makes sense to lean into the tendency to view Anna Tuori’s work through the prism of a purely visual semiology: her paintings unfold meanings that cannot be put into words, approached from the angle of relationships and relations, with a mathematical or affective lens. It’s a body of work that doesn’t really aim to be legible, in the linguistic sense of the culturally established agreement between signifier and signified. To borrow the categories of structuralist Roman Jakobson, it’s the phatic function of language that emerges here: the phatic function encompasses all words, sounds, or …