He sometimes touches on D'Anna, in an attempt to simultaneously break down reality, even abstractionism, but he knows how to harmoniously assemble the complex of disparate visual facts, sometimes entrusting the gradual predominance of the polymaterial element - filiform inserts, cupric elements, which cover parts of the planes, wooden emergencies - unique linguistic solutions in all Italian aeropainting in a successful synthesis of form, color, material and volume.
And he arrives at particular montages of interpenetration between the human figure, above all female and aerial with truly singular results in futurist painting. He has experimentation in his DNA, even when he abandons movement, never ceasing to experiment, with a flexible pictorial code, all the creative and technical possibilities that contemporary painting offers him, especially in the post-war period, in the 50s and 60s, when he even approaches pop art, abstraction and polymaterial, already used in his futurist phase. But the poetry of his research focuses entirely on the landscape where sky, sun, sea and earth collide and in which red, yellow, green and purple planes weave playful competitions.
Today, studying him with more expert attention, new astonishing elements are always discovered in his aeropainting, since D'Anna seems to know in depth all the types of machines of the 1930s, representing their technical characteristics with a precision to be discovered in the pictorial icon. , only apparently fantastic.
Of the planes in use in the Italian aeronautics, he follows the evolutions and the enterprises with documentary and psychological participation.
Even in war aeropainting with dark colors.
A D'Anna that is constantly renewed, even in faithfulness to its basic parameters, an authentic interpreter of Futurism and not only Sicilian.