In an almost ritual act of repetition, Ana Pusica immerses her alienated self-portraits in an eruptive chaos of pigment, in order to domesticate them in the process of painting again into a figurative representation.  Daniele Dell'Eva describes the process of creation of his sculptures as an approach and distance from the human, "proper" form, a form closest to us, most familiar and accessible, on the one hand. On the other hand, human or at least humanized appearance is the motif par excellence in the history of art. A reference to the desire to understand one's own existence and the phenomenon of being human in general. Certainly, the anthropocentric worldview of our civilization has also contributed significantly to the dominance of the motif.  
The continuous discussion of philosophy, theology and cultural history with this subject is an ongoing discourse, with countless levels. It is a question that requires constant discussion and does not really stand up to any argumentation.  If we limit the analysis by the history of human "representation" from the 20th century onwards, we find so many different attempts of interpretation even in this relatively small period of time. Nevertheless, from the beginning of the 20th century a tendency of abstraction in the sense of deconstruction, fragmentation and re-creation, hence the intellectual manifestation of questioning on the artistic level, can be found.  
The degree of abstraction of analog and digital dealing with the human, (or own) appearance in contemporary visual art also varies widely. The anthropomorphic form can represent, communicate, and at the same time be instrumentalized into a mere means to an end as a formal starting point, the ambivalence of the relationship of the outer static shell and the inner fluid. Especially since the word starting point also contains a certain ambiguity.  The paintings of Ana Pusica and the sculptures of Daniele Dell'Eva are created in the so-called traditional media, referring to the avant-garde de- and reconstruction of legible forms.Yet their respective approaches combine the individual and universal aspects from the fund of cultural-philosophical history with the contemporary artists' self-consciousness about the assurance of their conscious subjectivity. Their pictorial languages and their discussion of content are to be located in the contemporary context.
Ana Pusica's works are characterized by strong, expressive gestures in characteristically dominant colors on large formats that demand her intense physical participation. In this way, the artist is present as a subject in her work not only on an intellectual and emotional level, but also on a physical one. Her predominantly abstracted oversized figurations are self-portraits whose visual language is self-dialogical, spatial, and almost monumental. An interesting point to note is that Daniele Dell'Eva's own physical presence in a non-self-portraying way is also characteristic of his work. The imprints of his hands as traces of work remain on the objects as part of the sculptures, alongside the traces of the tools. Through color, again, these gestures of touch and making are highlighted and captured. His works are closely related to the materials he uses. Wood, plaster, concrete, metal and pigment become the medium to formulate his artistic expression in three-dimensional objects. Re-interpretation and reproduction of archaic and mystical symbols, signs and metaphors, anchored in the collective memory, blend in his work to create entirely new visual worlds.  

 Tinatin Ghughunishvili-Brück