Anne Lynch is an artist whose work has been extensively exhibited throughout the UK, from solo exhibitions to group shows including the Royal Academy of Arts and the Royal Institute of Painters in Watercolour.
Concerned with story telling and often using myths and dreams, Anne’s work portrays her ability to interact with the viewer in a thought-provoking manner. Anne talks us through her journey in art and how her work has evolved.
“My first introduction to painting was landscape in Scotland and when I moved to London I missed the easy access to that source and grew more reliant on an internal journey.
I love story telling and myths. Often in these stories the spirit, or the soul of the person is held within vessels or containers, often just ordinary domestic objects, the importance being, that they must not look into or let escape the spirit. Therefore issues around caring and nurturing are laced through the story and my work. Eyes are often found peeking out of my vessels as if some acknowledgement to this idea.
Many artists have had a great influence on my paintings such as Paula Rego, Cezanne, Dumas, Kiefer, Vermeer and no less than my tutor at Art College Elizabeth Blackadder. Another enormous influence in my work is the Cycladic figures in the British Museum. This introduced, not only my first connection to how I might use the figure, but also a fascination with hands and the many associations with them, caring, protecting, nurturing tender etc. These little figures usually have their arms folded across their tummies but never in a submissive way, very much protecting or caring. Hands, for me, also represent the outside forces at play, such as fate and how we are looked after in events that change us.
Travels in Thailand, Egypt and Sicily gave me a range of images of woman for my paintings. Laterally Scilly has brought out very mischievous small figures I discovered in the wonderful mosaic in The Roman Villa of Casale where there was a room of female athletes dressed in bikini like outfits.
My main media has always been watercolour. I also use graphite and soft wax when drawing. Watercolour is a complex media and often can expose you to quite a ‘slick’ mark, which can have advantages, but my constant struggle is to explore the mark making and try to push deeper. One reason I preferred to paint very large watercolours mainly 5-8 feet in scale was to address this issue. I also collage because I like keeping the energy of the mark close to the luminosity of the colour which comes by using the white of the paper and if I loose that delicacy, I repaint until I regain what I want.
Sometimes I interject just a small part of an object or face so that the story of the painting is not necessarily complete, but the viewer can then bring their own identification or response to it. I hope that the paintings identify a communal experience or humour and not just my own. Landscape as woodland represents the ability to hide in or be protected by. Over the last years I have been enjoying juxtaposing my meditative figures with landscapes in the attempt to lure a conversation between them more like free thought or association.
My main Studio is in London and I also have one in France.”
To find out further information visit http://www.annelynch.com.