I’m Edi Sanna, a sculptor-women, born in Milan, in 1966.

With a root in figurative and an inclination to the abstract, with the attention to the gold section and to the rhythm and the necessity of the instinctive one, with the pleasure of the sign and the detail and the awareness of the immense universe.

I discovered for the first time, the essence of the art, to Sedilo, where I have lived, inside of Sardinia. I had three years when I observed Pasquale Piras, painter disowned but with a great passion for the art.
In 1984, when I have ended the Artistic Grammar school, I have had to try a job, partially removing me from the art. In those years, one of my economic occupations of greater relief was the collaboration with BBPR study of Milan. I realized great paintings that to get used to buildings's surroundings in phase of planning.

In 1998 I am myself enrolled to the Academy of Fine Arts of Brera, to Milan. I have taken a degree in sculpture to the chair of Master Paolo Gallerani with the thesis “In the limit. Philosophy and sculpture; two points of view to comparison on the limit concept”.
During a travel to Delfi, in 2000, I have uncovered a plant, the Medicago Orbicularis, alfalfa. Its small fruit, to double spiral, becomes my obsession a little. Then, in the phase of search for the thesis I have had the fortune to know “The Theory of the Monads” of G.W. Leibniz. Thus the small fruit becomes for me the perfect rappresentation of the Monad. It is the Monad. And to she I dedicate my greater work, an installation in continuous evolution and infinite therefore.

I have lived four years to Barcelona. I’m travelling a lot in Italy and abroad, participating to collective and personal art-esibitions and to wood and stone symposium. The symposium gratify to me, or for the job in itself  that for the atmosphere that them characterize; they are a happy moment of encounter and cultural exchange between sculptors.

My means of expression in sculpture are the clay, the stone, the wood, the earthenware, the chalk, the portrait, the bas-relief, the high-relief, the erme, the installation, the monumental sculpture, the Land-art, the collective-work. In painting the portrait, the landscape and the abstract  on canvas, juta, wood and cardboard, with traditional techniques, like the drowing to pencil, the charcoal, the bloodding-pencil,  the painting to oil, watercolour and the pigments and techniques invented, between which the juice of strawberry, the natural wax and the bitumen.

My devotion for the handmade does not remove the interest for multimediale and I take care, without ambition and with irregularly, beyond that to the photography it types them, to the video assembly, between which Uroboros, present in the site.