What is it about that primordial fear of what lies in the shadows?
We are both afraid and yet fascinated by what could lurk there. Is it in some way that by acknowledging that there may be something within the darkness we are strengthening ourselves to the horrors of the real world?
For is vampirism not now regarded as romanticism?
Wherein the act of dying at the needs of a monster, we find ourselves reborn as one is seen as a favourable alternative?
Something many would prefer to gain immortality rather than face the natural progression of growing old and the illnesses and inherencies that come with it. Anne embraces the ‘Gothic’ style with a unique perspective and has featured many dark characters over time, the fore mentioned vampire, werewolves, multiple denizens of hell, Grim Reaper’s etc. All denizens of our deepest psyche. Regarding the latter subject matter, Anne paints it as representation of our own mortality; and is used to this effect in such paintings as ‘Summon the Reaper’ and ‘Dance with Death’.
Anne’s work within this genre isn’t one of shocking the viewer, something that would be easy to do; it is more akin to a storyteller. It provides the chill element for sure, and yet, we connect with it in some elemental manner. For the dark loves nothing more than company. Embrace the dark!
Age of Dragons
On ancient maps when the world was thought to be flat, the edges would be inscribed with a warning, ‘Here be Dragons’. So it has been for thousands of years that the realm of the dragon lies just beyond the horizon. These beasts have been the subjects of tales and legends in most parts of the world since time immemorial.
They have come to represent untameable power, strength, wisdom and cunning in their many guises. Both the dragon and unicorn are definitive representations of fantasy art; their appeal has lasted hundreds of years, both with a rich history also in storytelling as well as art. And with each dragon painting by Anne she continues the legacy with a passion.
Anne’s love for them started from an early age, and she still considers them her favourite subject matter to paint. From the smallest ‘Blackberry dragon’ to the largest in ‘Dragon’s Fury’, Anne has always depicted them as if painting them from life. Indeed her range ‘Age of Dragons’ creates a whole zoology that brings an extra dimension to her beloved creations.
With each new incarnation that Anne paints she instils a confidence and dignity to these majestic beasts, proving without doubt that she truly is the Mother of Dragons.
The gentler side of Anne’s fantasy art, a world populated by the mystical and magical. Fairies have been the staple diet of art for many years, gaining massive popularity during the Victorian era. Though during this period they tended to be highly romanticised and either coquettish or coy. Many paintings on the subjects were on view at such austere London galleries, including the Royal Academy of Arts and National Portrait gallery for all to see.
They were viewed as a way in which to escape the harshness and drudgery of daily life, its popularity waned however with the onset of the First World War. Through literature the realm of fairies, unicorns and the like have withstood the test of time and one cannot imagine a world without them in it.
In Anne’s fairy paintings they are most definitely not romanticised or coy; they are portrayed as characters in charge of their own destinies. Another favourite of Anne’s are her Unicorns which are numerous, so much so that several calendars featuring only them have been published, as well as a book covering this majestic animal.