As a sculptor, I most enjoy creating forms that are massive and monolithic. For me, this is the best way to arrive at forms that are sensual, pleasing to the eye, and inviting to the touch. Generally, I start with an idea of a very basic shape, and only in the fluid process of creation does it become a human form.
My sculpture “Woman” was originally born of a wish to represent the strength of the female character, as coupled with a strong geometrical shape, the triangle. The walnut wood original has been reproduced in bronze and in hydrostone (plaster/marble).
The act of making art for me is a necessity; everything I create is essentially a self-portrait. My art is an exploration of self, memories, emotions, and the light and dark of all things. My own art keeps me in touch with my own life changes, and reveals new questions about how I choose to live my life. My overall intent is to create artworks that express emotions and evoke sensual feelings. I am not concerned with realism as much as I am with creating abstractions, exaggerating color and combining other imagery to tell personal narratives.
I enjoy utilizing the exploratory qualities of art materials to create abstractions of the human form – usually of my face and hands. I like to develop playful juxtapositions of colors and shapes within the artworks using the method of automatism. I focus on engaging in the aesthetic experience as a relaxation technique, attempting to use my art making as a way to cultivate creativity and enjoy being ‘lost’ in the process.
I dedicate my artwork to the children I teach and have taught in my exciting career I enjoy as an Elementary Art Educator in public schools.
My early attempts at figure photography were influenced by art school figure drawing classes where we as students generally interpreted the female nude in an representational “idealized” form. After numerous photographic ventures photographs in this vein, I decided that there was need to abandon this traditional line of thinking and I began to utilize the styles of the photographers and artists whom I admired: Lautrec, Weston, Hopper and Arbus to name a few.
Artist Anne Therese is a native of San Diego with a BA in Art and a Masters in Education, and has worked as an art teacher, tutor, collagist, artist’s assistant and docent. She currently resides in State College, PA, and her work lately has been driven by emotionally evocative color expressed through loosely drawn figures. Taking inspiration from jazz, her life-drawings unify feeling and reflex.
I’m always thinking about how to personify the abstract identity and human nature both which are my major issues of recent creation. My painting is naturally based on people and things in the daily life of Taiwan, but in order to express the non-umbilical cord relationship between the cultural surface and human nature, I use a kind of approach of “juxtaposition” on my creation. Beside, believing the divinity within human spirit, I try to make my art language a kind of composition of Greek classicism and contemporary realism to create portrait-like paintings which, furthermore, might be an Inter-textual composition or simultaneous description of history, I think.
My artwork is a series of abstract portraits that portray people at their most vulnerable. In my work I like to create a sense of balance and harmony using bold lines, and colors that speak to the mood I aim to convey. Snakes and lizards appear in a number of my paintings to pay homage to our Id, which is referenced by many as the reptilian part of our minds. I aim to convey our most primal human emotions in their rawest form, inescapable from the viewers’ gaze. Personal symbolism is always heavily incorporated into my work as well as common dream symbols. Often I pull from dreams I’ve had and they serve as heavy inspiration for my paintings. I want to give the viewer the chance to reconnect with the most deeply rooted aspects of their being.
I have been working in paper since the early 1980s when I first discovered the seductive qualities of pulp made from cotton rag and Japanese Gampi. During the intervening years, I spent most of my time perfecting the methods of making high quality paper using a range of Western and Eastern paper-making techniques. Paper I made was used in a range of paper products, bookmaking projects, papercrafts and artist’s paper that incorporated cotton linters, paint pigments, plant fibers, dyes and other materials. ‘Leftovers’ became my signature and my method. In exhibitions in recent years I have explored the sculptural qualities of paper-making using layering approaches that respond to the contours of the female body. Expressive and symbolic elements are suggested through the use of embedded materials and paper sculpting methods. The range of paper making methods has also expanded to incorporate pulp spraying techniques to create large free form sheets of paper from abaca plant fiber that I’ve used to add structural elements and as ground for mounting work.
I see my work as a visual conversation in contrast and relationship; visual and human. Asymmetry and repetition play important roles. My process is rarely a straight line from concept to completion and although I set out with a preliminary ideas, I usually end up learning where I was going only after a piece is finished.
Wearable art is personal and therefore takes the idea of relationship a step further. The viewer becomes the wearer and the setting is not a wall, but a person.
“Drawing is the art of being able to leave an accurate record of the experience of what one isn’t, of what one doesn’t know.” -Brett Whiteley
“A drawing is simply a line going for a walk.” – Paul Klee
I draw for the moment a drawing comes to life; when the eyes begin to look back at me, or when sunlight pours through the crack in the door of a room not yet drawn and I begin to wonder what’s on the other side. If this doesn’t happen, I turn the page and start again. If it does, the rest, more lines, more colors, follow.
Have you ever really looked at the sky or the trees and fields that surround us? I never really looked either before I started painting. Now I see the beauty that’s right there in front of me and want to express that on paper. I love the way watercolor gives me wonderful surprises. Nature’s shadows and a feeling of distance are favorites of mine.