“I have always found great inspiration in the words of poets, as a line or a stanza recalls an entire image, drawing you into the world of the poet.” Andrea Zanatelli’s first book of art, Love is Enough: Poetry Threaded with Love, blends his famous digital embroidery and collages with the poetry that inspires him. Of all the poets that Zanatelli features, it’s William Blake who recurs most, from ‘The Sick Rose’ to ‘Love’s Secret’, ‘The Lilly’ to ‘The Garden of Love’, the imagery in these poems is so typical not only of love poetry but of Zanatelli’s work in general: hearts, heat, flowers, the natural world’s splendour; in the work of Blake + the Arts and Crafts, Zanatelli was influenced by how “words and images became one, an extension of their philosophy.” Some of the other poets featured were already so familiar to me: Shakespeare’s Sonnets, the love poems of Sir Walter Scott, Percy Bysshe Shelley, Christina Rossetti, Aphra Behn, Elizabeth Barrett Browning — an array of Renaissance and Romantic figures, with Emily Dickinson’s poems bookending. Then there are the poets whose work I’m less familiar with: from heavyweights like WB Yeats, Thomas Moore + Lord Byron (in collaboration with George Gordon) to more hidden gems — Violet Jacob, Anne Brontë, and Sara Teasdale, who writes in ‘Love Songs’: “I have remembered music in the dark”. And, in a foreword by queen of classically-inspired artistry Florence Welch, Zanatelli’s arresting pieces are contextualised: “an exquisite blending of the past and future. Weaving together poetry, art, texture and technology”, and Zanatelli is “truly an artist for our age, his digital embroidery could be considered modern-day Memento Mori. Sacred Icons created for our current cathedrals, for who at this point cannot call their phone an altar.” In a world where “Love reigns supreme”, Zanatelli commits “to beauty that defies decay, defies death.” His “never fading, forever beating” hearts are a facsimile of what it means to love deeply, unreservedly, and unknowingly.