Anna Smith

Portraits of dualisms, this body of work draws on experiences of landscape to create fragmented abstractions that ooze negative space, yet with the yearning promise that some thing is revealed in the void in between. The dichotomies of blue and white forge a fluid stream between inner and outer worlds, using what can be seen to tantalise that which cannot. This project relishes in the freedom of form found in abstract painting to recognise and depict the landscape as a catalyst to influence the unconscious.

Portraits of dualisms, this body of work draws on experiences of landscape to create fragmented abstractions that ooze negative space, yet with the yearning promise that some thing is revealed in the void in between. The dichotomies of blue and white forge a fluid stream between inner and outer worlds, using what can be seen to tantalise that which cannot. This project relishes in the freedom of form found in abstract painting to recognise and depict the landscape as a catalyst to influence the unconscious.

With origins rooted in process art, Each Circle Was Blue emerged through various states of medium and form. Beginning as experimentations into the mutability of the cyanotype process, each initial piece was created as a personal exploration of the act of walking through the landscape, relinquishing control to the chance circumstances of the living world. Situated by the coast, water played an important role in the foundations of this project, as gathered sea water was used to interrupt the cyanotype's exposure, reacting with the chemicals to produce an array of colours and breach their original boundaries on the paper.

With origins rooted in process art, Each Circle Was Blue emerged through various states of medium and form. Beginning as experimentations into the mutability of the cyanotype process, each initial piece was created as a personal exploration of the act of walking through the landscape, relinquishing control to the chance circumstances of the living world. Situated by the coast, water played an important role in the foundations of this project, as gathered sea water was used to interrupt the cyanotype's exposure, reacting with the chemicals to produce an array of colours and breach their original boundaries on the paper.