Anne Clarke

Aged and flaking wooden objects, beautiful antique bowls and plates collected because of their colour, shape and history—these with artichokes, quinces and flowers are often featured in large canvases painted by Anne Clarke. The sheer beauty of these tableaux has been celebrated by the artist in gloriously handled paint. These works are contemplative and lush and are positive reminders of the vivacity, richness and beauty of life.

Anne has a deep interest in developing each painting expertly and likens this to the work of an artisan. Underpinning her art is a rich layering of paint, applied over and over again to perfect the tones; expert draughting skills and a love of selecting and arranging objects ‘just so’.

Anne Clarke was born in Sydney and studied at art school there. Her studies gave her
some skills but essentially what she now knows about painting has been self taught through the long, hard hours spent at the easel— mainly working on very large canvases which give her subjects monumental scale and a greaster prominence than in old and time-worn still life tradition.

Anne grew up by Sydney Harbour where her father’s love of boats offered her a subject she still paints today. The shape and movement of boats on water suggests those times n life where there is stillness in the mind, allowing the imagination o take precedence.

The dinghies Anne paints are often tethered buy have their own freedom of movement, bobbing about on the still water. These are meditative works and the soft light, the perfection of the shape of the boat’s hull and the calmness permeates the imagination of the viewer.

While still at high school Anne made the decision to be a painter, and has followed her ambition for many years and now many collectors have acquired her works. Her works are held in many collections including The Holmes a Court Collection, The University of New England and the National Library of Australia. Anne has also completed seyeral portrait
commissions.

Anne has described her working style as being ponderously slow: “The works move toward
completion like a glacier towards the sea! Coat after coat of paint and glaze until the moment just creeps up on me that there’s not one more thing left to do. Then I’m released”.

David Bromley has made the following comments on Anne’s practice: ‘.. the whole picture is grounded by the difficult and challenging process that Anne subjects herself to in producing these works and orchestrating her life and surroundings. The commitment is quite phenomenal and unrelenting. She is most definitely a person with an an obsessive approach to these things. She envies artists who work in a rapid style that reaches exciting conclusions quickly. Anne labours for months on each work and at times is frustrated that she has painted herself into the tight corner that is realism  an area that demands an attention to every detail with patience and an unwavering hand’.

For the viewer our world is enriched by Anne’s works—she has reminded us that the ordinary can be extraordinarily beautiful.

Vivonne Thwaites
April 2004