Continuing online through February – just heard that this small watercolour was sold at an auction at Frederick Bremer School, supporting vulnerable families during the pandemic. around £1000 was raised by about 30 artists taking part – it’s great news and I’m glad my painting has been put to good use. It is a watercolour made around the Year 2000 for an exhibition in Aldeburgh with Paul Tucker photographer and Plenderleith Silversmiths. The work was part of a series called “Aldeburgh Journies”. It is 34 x 34cm framed.
We carry on regardless – Classes continue online, Exhibitions still happen, but online, paintings still being produced in the studio.
Here is my latest painting on canvas – “Blue Collar” – a painting that started as a study of the forest influenced by the Japanese idea of the “Forest Bathe”, where you might experience your walk in the Forest with the full range of senses, sight, sound, smell, even touch (if you like leaf litter) or taste (maybe not this time of year). I was looking also at the paintings of the Impressionists with my classes at the time, especially Monet’s paintings of London. But his Water-lilies where the paintings were so big you were almost immersed in the paintings when standing in front of them. Mine is a small dip in comparison, but I enjoyed it none-the-less. You can see the progression of the painting from start to finish below. I finally found the title by adding my dog to the picture, whose collar is blue. Thank you for visiting the site.
1. Sketching out.
2. Adding Tone.
3. Colour and Shape.
4. Depth and Detail.
5. Conclusion: Blue Collar.
Studio Picture by Paul Tucker, December 2020.
I have been very lucky to have my picture taken by Paul Tucker, E17 photographer – not having had a proper portrait done before, I was a bit nervous and I’m not sure if I have chosen the best one – as per Paul’s usual meticulous method, there were many images to choose from – I think I will have a look for one that’s a bit more relaxed, but it’s great to have a picture of the studio on my website – I was working on my watercolour holly sketches for class this term. The “Forest Bathe” painting in the background is currently in progress, nearly finished and the monoprint on the easel, “Sea-change 16”, which appears on my Shop Window page, was also No.21 in the Beulah Road Studios series of artists for Advent. Merry Christmas!
!!!!! CHRISTMAS AUCTION !!!!!
Anna’s painting “Waves-15”, a watercolour, is part of Frederick Bremer School’s online auction. To make a bid, go to:
Title of work: “Waves-15”
Size: Image size 15 x 15cm, Frame size 34 x 34cm.
Price when sold: £115.
“Waves-15” is one of a series of images I made in and around Aldeburgh one year in response to the landscape and to Benjamin Britten’s opera “Peter Grimes”. It is a watercolour made in series with a number of others in a spontaneous way, using the naturally flowing and blending nature of the medium. This led to a series of landscape images over a number of years which formed a key part of my process as an artist early on in my career. I currently teach adults in the East London area alongside pursuing my own creative work. Issues explored in this community of artists include a sense of place, a shared goal, and a personal enquiry.
June 2020. Lockdown Art.
Anna’s latest oil painting, “Disruption of the Everyday – Hesdin” was made during Lockdown in June and July this year (left).
It accompanies another earlier piece, “Disruption of the Everyday – Le Crotoy”, made in June/July 2019.
Both pieces were combinations of two pieces of work – one painted from drawings and photos taken while in France one summer and another painted over the top of the first one, from life in the back garden.
An idyllic scene from abroad combines with a familiar one at home to create a disconcerting new reality, disjointed and uncomfortable, like the one in which we find ourselves with COVID-19.
Works in progress from the latest piece, “Hesdin”, can be seen on Anna’s Instagram post.
March 2020 My last event before Lockdown was to take part in this exciting exhibition of artists from around the world –
– at Chelsea Town Hall – with old friend and fellow-student from University of East London, Rocio Bucheli.
Judith Cuba’s eclectic show of work from around the world including paintings by Rocio Bucheli and Martin Hewer,
as well as my new set of etchings, “Lights in Lloyd Park” from Waltham Forest, London Borough of Culture
celebrations, 2019. This is the fourth outing for the four prints. They featured alongside work from all artists concerned
in Judith’s beautiful catalogue:
For full details about the prints and cards, “Lights in Lloyd Park”, plus images
of the full set, please go to: https://annabisset.co.uk/prints/
See below for Anna’s prints and paintings by Rocio Bucheli and Martin Brewer.
No.2 “Conic Solid”
Third outing for Anna’s new set of etchings with the E17 Designers Winter Market this week:
“Lights in Lloyd Park” by Anna Bisset BA Hons, MA Art in Architecture.
A set of 4 etchings responding to the laser show at the William Morris Gallery, Lloyd Park, part of the opening ceremony of Waltham Forest London Borough of Culture 2019.
The opening event for Waltham Forest London Borough of Culture at The William Morris Gallery in January 2019 was a laser show designed and produced by Marshmallow Laser Feast. This exciting show projected into the night sky inspired Anna to create and produce a series of prints showing something of the show and responding to the feeling of being there on that dark January evening.
She produced five images under the title “Lights in Lloyd Park” which were originally pen and ink drawings with watercolour washes and these were worked up into a series of four etchings.
2. “Conic Solid”
3. “Focal Point”
4. “Elliptical Orbit”
The 9.5 x 12cm plates were etched and an edition of 16 prints for each image was made at Inky Cuttlefish Studios in Walthamstow. The titles refer to the science and maths involved in the creation of the laser project and to the “out-of-this world” quality of the imagery produced by the designers.
Etching is a method of printing whereby a metal plate has an image drawn on the wax-covered surface. This is dipped in acid and the resulting intaglio image is filled with ink; the excess ink is wiped away, then the plate is put through the rollers with paper in place. Each plate can be etched numerous times to reach a finished image and prints are taken each time the plate is etched (artist’s proofs). The final version is used for the complete edition, in this case an edition of 16 from each plate. Artist’s proofs which are not part of the finished edition may be sold separately as evidence of the working process.
The print-making process gives the artist another way of developing imagery using repetition and in this way you have a record of the changes in the work over a number of prints. The final print is affected by all stages of the process, including the drawing, etching, proofing, inking, wiping and the final print, so the artist’s eye is called upon throughout.
Prints: Unframed £45; Mounted: £55; Framed £110
Cards: £3 each; £5 for 2; £8 for 4
Please my Instagram account for more images.
September 2019 –
– Art Trail Wanstead and The Manor House Exhibition and
– 40 years of Pictorem Gallery in Walthamstow.
Please see my instagram account for more details.
June 2019 – Corsham and Wanstead Studio Artists – part of E17 Art Trail 2019.
An exhibition of art-work from ex-students of Bath Academy of Art, Corsham and members of Art Group Wanstead in Anna Bisset’s tranquil garden studio. Painting, sculpture, photography, print-making. See E17 Art Trail Listings for further details.
Anna Bisset, Richard Crooks, Emma Davies, Mark Mainwood,
Annarita Mazzilli,Chris Thomas, Paul Tucker
March 2019 – “We Grow into the Forest”
An exhibition at Mile End Art Pavilion, East London, curated by Judit Prieto Rovira on the theme of man’s relationship with the natural world.
My pieces were pen and ink drawings, shown below: the first, “The Maker’s Yard – Fire-pit”, was drawn in the yard outside a group of art workshops in East London where the outside space was as important to the occupants as the inside: the workshop buildings were surrounded by trees and shrubs that seemed integral to the semi-permanent structures. The yard in the middle was used for making and for exhibitions and there was a feeling of being part of the natural world.
In “Churchyard”, the man-made forms, the gravestones, are almost consumed by the earth and natural forms around them. Even something as robust as a gravestone gives in eventually to the forces of nature.