Anna Nero is drawn to the objects that surround her: their appearance, consistency, material, function and, at times, even their character or agency. Lines, thick brushstrokes or small, quirky squares become objects or subjects that interact dynamically, opening up a narrative. In this way, material becomes the central subject of the work rather than just a tool. Brushstrokes or thick “worms” of paint applied straight from the tube develop a life or agenda of their own, something she underlines by giving her works titles such as “Strokes Trapped in a Grid” or “Hostel”. This approach reveals the humorous and ironic side of her practice. She enjoys mixing, sampling and quoting artists from across art history in a postmodern way, always with a playful wink.

Raised in a multicultural and multireligious environment, Nero comes from a Jewish family, yet she was also surrounded by Russian Orthodox Christianity and Catholicism. This diversity sparked a deep interest in how different religions and cultures relate to images, objects and icons. While Judaism forbids most forms of image and idol worship, Russian Orthodox believers venerate icons. She positions her work within this tension, attempting to represent and show the unrepresentable, situating painting somewhere between the sacred and the profane.

Sexuality also plays a crucial role in her work, which includes themes such as fetishism, bondage, control and kink. Her strong interest in sensual and erotic relationships between humans and objects has led her to create objects herself. Recently she has turned to ceramics, a logical step after her extensive exploration of objects in painting. Her sculptures recall jewellery, design objects, toys, ornaments and sex toys. These pieces often suggest a familiarity with functional objects, yet they remain without function.

In previous exhibitions she has combined paintings, objects and wall designs to create immersive environments that invite the viewer to become a subject within the world presented.