2016 SMALL PICS FROM GARDEN, PAJA & GALLERY, PORI
Small pictures present the greatness of birth, change and loss.
All the work has been done summer 2016 in June and July at the allottment garden in Pori.
Some plants live only one summer, others continue to live for years and decades. Our old plum tree was cut down this summer and I draw the last fruits of tree.
The one side of the exhibition is pink, with which I have a somewhat complex relationship. A wide variety of plants at different stages in their existence. The colorful drawings from the garden.
2014 TRAVEL TO HORIZONT, P-GALLERY, PORI
The topics of Anne’s work are from travel at spring 2014 to Kökar art residence. The technique of work is frottage which is added with coal and guass.
Frottage; the artist takes a pencil or other drawing tool and makes a rubbing over an uneven surface. The drawing can be left as it is or used as the basis for further refinement.
2013 DRAWING GARDEN, KÖYSIRATAGALLERIA, TURKU
I use the living in allotment garden and vegetation period for the metaphor of artistry, haste and unhurriedness.
These three concepts are in the central position. I have built an idea for my position in the field of contemporary art by treating these themes.I have been a graphic designer since 1982. During this time the work has become computer-based. The last tweny years have meant cutting loose of the old things and learning new programs and systems. Haste and tight schedule mark the days.In my thesis work I study my exhibition and its themes, the decoys. A decoy’s task is to attract a bird. My goal is to attract eyes and to provoke thoughts. I observe interesting techniques, drawing, relief printing and video.
I am a visual artist, a graphic designer and something between these. Graphic design will always go hand in hand with the task of an artist. I am winding flexibly somewhere between these two professions.In the first chapter I deal with the past. The second chapter explores the current vegetation period and the last one the future periods. I reflected these three headings in my work. I concluded that unhurriedness is necessary in the work of visual artist. An artist must respect the importance of his work give enough time to it. Such working conditions I am going to do in the future. I’m going to concentrate on building such working conditions in the future.
2012 DECOYS, AULA-GALLERY, TURKU
Charcoal is the most sensitive of the drawing tools, it transfers the touch and presence. I want my work to transfers the experience of time, a moment of concentration. I made with the coals the surfaces, which I rub and wipe out countless times. Off wiping is as important as adding.
Last summer (2012) I draw old decoys in the Kökar Museum. They are from the beginning of the last century, part of wood and some stuffed. My intention was not to make bird like they are, they are objects, born by hand made.
Decoys were used especially for the spring hunting, which is still practiced in Åland today. There is currently a lot of discussion about the need for spring hunting. It is no longer a necessary nutrition supplement for people in the archipelago. Nesting time the hunting of birds is prohibited elsewhere in the country.
The task of the decoy is to attract same sort fellows. I use decoys to hunt looks and to revive ideas.
2009 MAINLY DRAWINGS, PORTAITS´S GALLERY, PORI