The painting environment The Annunciation (2019) reacts and recreates, contemporarily, the celebration of the announcement by the Archangel Gabriel to the Blessed Virgin Mary that she would conceive and become the mother of Jesus. As an visual metaphor, Natacha Martins restage the context of the visual pursuit transmitting a message. 

The Annunciation features two figures, one in the foreground looking through a computer screen, representing the Virgin Mary, and the other (the figure of Archangel Gabriel) laid down in a matrise, enlightened by a phone light. The figures are for the first time in a painting of this biblical episode, back to back. There is another depiction of a human body in an intimate moment (left limit of the canvas). In the compositional space there are three distinct areas: a blue infinitive area, where the Virgin Mary looks throught, an warm golden shades room where the Angel Gabriel lies down towards darkness, and an the outside, depicted with white winter light. The different objects and natural beings such as plants, dead crow, a microwave, a billboard, a chair with a mirror and a turtle neck, an empty cardbox and a pair of boots, are symbols that dilute and draw the message through the figures, describing the atmospheric light that engages the painting.

The work has a dream-like quality, heightened by its night-time setting, the lengthy shadows cast by the figures, and by Natacha’s unusual compositional narratives, the figures on her own appear to be much more onirical than the classical representations of the sacred biblical figures.

The Annunciation , which at the time it was made was the largest painting the Portuguese-born artist Natacha Martins had created, was made under a art residency context, in the International Art Program of Pilotenkueche in Leipzig (Germany). Natacha has claimed that the idea to ‘the annoucement’ was suggested by her arrival, to the german city, where figurative painting has a long and notorious tradition. 

The Annunciation
Oil and Charcoal on Canvas
150 x 285 cm
“ Overwhelmed incorporeal happiness” in Pilotenkueche Art Residency, Leipzig, German