Brancaster Chronicle No. 71: Anne Smart Paintings

GONE AND BEEN

GONE AND BEEN, 122X122CM (ALL PAINTINGS OIL ON CANVAS)

13th April 2019, the artist’s studio near King’s Lynn.
Taking part: Anthony Smart, Anne Smart, Robin Greenwood, Sarah Greenwood, Charley Greenwood, Hilde Skilton, Mark Skilton, Alexandra Harley, Noela James, Richard Ward, John Pollard, Emyr Williams.

 

 

 

 

TONIGHT

TONIGHT, 122X122CM

 

WRIT MOVES ON

WRIT MOVES ON, 102X12CM

 

NOT NOON

NOT NOON, 102X102CM

 

BLOODY GRIPS

BLOODY GRIPS, 102X102CM

 

AWAY AWAY

AWAY AWAY, 122X122CM

 

[ORBITAL] LUSH LIVE

[ORBITAL] LUSH LIVE

 

[ ORBITAL] WONKY LIVE

[ORBITAL] WONKY LIVE

 

LATER

LATER, 122X122CM

 

 

 

 

4 comments
  1. Richard Ward said:

    It´s a great shame that the extraordinary visual properties of Anne´s paintings hardly come across in reproduction. In a world full of screens and photos, they are a convincing argument for real painting, really seen,

    I´m beginning to agree with Robin that “Tonight” is perhaps the best of these. I think this has to do with the scale of the variations within the painting, which seems more commensurate with the size of the marks than (for instance) in “Come and Been” where the variously coloured areas seem imposed rather than growing out of the mark-making.

    The expressivity of “Tonight” bears a (maybe tenuous) connection to some of Cy Twombly´s works such as the “Ferragosto” paintings (seen abstractly, without the naughty bits), though Twombly´s marks are predominantly graphic and more insistent while Anne´s are embedded in painterly space.

    That said, I like “Bloody Grips” and “Wonky Live” a lot too, and it´s good to see “Away and Away” experimenting with cooler colours.

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    • anne smart said:

      I sometimes think I will be a vegetarian.
      Then, at a barbecue , a sausage sizzles and I try to ignore the familiar delicious aroma, but I eat one and I love it.
      Too much choice seems to be a common complaint at the moment.

      Its not like that in my studio. There are key things I try hard not to do and I have started to succeed.
      One of them is not to paint like Cy Twombly.
      I can see why he is so attractive and I have always been attracted to the immediacy of his marks ,his colour and his drawing which sits on the top of his canvasses.
      Richard…you say his marks are….”predominantly graphic and more insistent’ ….and that is a brilliant description of what I am trying not to do.
      I am so happy to read that you think my work here is …”embedded in painterly space”…..believe me that is exactly what I am deliberately, and in my own insistent, pushing way attempting to achieve.
      Twombly’s achievements of graphic insistence,for me are complete, and much as I admire that, I think he has ‘done it’.
      For me ‘moving on’ is top of my list.
      That would be towards a more thoroughly,visually,colourfully,expressively and abstractly and acutely “embedded'” way of making painting.

      Thank you.

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  2. Hilde Skilton said:

    ‘embedded in painterly space’ is a wonderful way of describing Anne’s painting. If I then elaborate with’ weightedness ‘, which for me brings in a feeling of substance and densities , am l talking about the same thing? The point is that this is where l started feeling the most tension. Degrees of weightedness and degrees of densities. ‘Gone and Been’ brought this home to me most strongly. Come to think of it all these paintings had so much to offer …constantly shifting and keeping me involved….complexity with singularity!!!

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  3. Noela James said:

    An excellent discussion!
    Anne’s amazing paintings brought many important considerations to the fore.
    A lot to think about.
    The challenge about creating meaning and how conscious decisions can do the job without making work look contrived.
    How much to think, how much to leave to the unconscious.
    Avoiding the nebulous and areas that get stuck, (or not).
    Enjoying disparate elements in a painting that can create tension such as in ‘Gone and Been’ and [Orbital]Lush Live.
    The concept of ‘air’ in a work, rather than making it figurative, could act as a feeling of lightness or ‘breath’.
    As I said in the film I love the feeling of opening out in these paintings, and yes the film and images do not do them justice.

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