The two groups of work, “From the Sea” and “Aldeburgh Journies”, represent a large part of the Landscape series. A series of monoprints was produced to accompany each group of paintings; the first a group of five monoprints, the second a group of four.
Each series of prints was produced over a period of several weeks in layers of 3 colours or more for each image. The method involved rolling ink onto a glass plate and then scraping colour off to create detail. Around 20 copies of each image were produced and in each series some 80 prints went through the artists’ hands at least 3 times each.
Using the loose and free rolling and scraping techniques along with the planned layers of colour, Anna had set up a firm structure within which to work. Repetition allowed the production of multiple artworks, but it also had the flexibility to adjust and vary the images from one print to the next. This gave rise to a series of small repeated images, each of which was entirely unique.
The images “From the Sea” (1998) derived from Suffolk seascape combined with a musical source with local relevance – Benjamin Britten’s “Peter Grimes’. Moonlight, Storm, Dawn and Sunday Morning relate to four “Sea Interludes” which occurr between the acts of the opera. The idea of linking music with imagery reappears later in Anna’s Community Project, “Music into Art” (2008).
The images for “Aldeburgh Journies” (1999) were derived from the intensity or subtlety of colour found in the areas around this part of Suffolk and developed again into virtually abstract colour studies in each print: Green Gold, Hot Yellow, Blue Green, Pale Cream.
In both cases, the series of monoprints adds another aspect to the paintings as a group of work: production and repetition, control versus freedom and speed, all add their qualities and lead to further experiment in colour and composition
Watercolours and Oils
In 2001, the third series of landscape paintings in Suffolk, “Heath and Sea”, focused on the heath at Dunwich and Aldringham, near Aldeburgh.
These acrylic paintings describe the unexpected intensity of colour in the early summer landscape.
Anna also spent time working in watercolour and produced a series of 16 small, square images derived from studies made in the area, “Waves”
Though initially from life, she moved quickly on to explore colour, texture and the free and surprising qualities of the watercolour medium; a very different method to that of the subsequent oil paintings (2002) which concluded the series