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Ann Thomson: Arabic

The Artist

According to the Mitchell Fine Art Gallery,  Ann Thomson is a Brisbane born, Sydney based painter and sculptor known for her vibrant, expressive artworks. Described by the late Edmund Capon as “one of the most interesting and intuitive artists in Australia today”, Ann's works are not intended to replicate a scene or a landscape, but rather evoke a sense of place.

“To paint a specific subject is just not my way of working. I have to be more open. It’s like opening another door that is to do with trust, it’s to do with memory, and having the knowledge that when you start painting the creative process begins. Too much thinking about it gets in the way.” - Ann Thomson (Artist Profile Magazine 2016).

Often described as abstract, Ann Thomson rejects this label as her works are drawn from visual memories of places and things; “I might abstract something, but I don't just paint shapes.” Thomson often refers to a quote from The Bulletin magazine when she was asked, “Are you an abstract or a figurative artist?” and she answered “yes”.

“My painting has always moved between representation and abstraction which I continue to explore today.” - Ann Thomson

Since graduating from the National Art School in 1962, Ann Thomson has become a force in the Australian art scene with countless solo and group exhibitions throughout Australia and overseas. Ann has won a number of prizes, including the Wynne Prize, Kedumba Drawing Prize, 2002 Geelong Contemporary Art Prize and major commissions include Australia Felix, the central sculptural installation at the 1992 World Expo in Seville.

Ann Thomson's work is included in many important collections such as Art Gallery of New South Wales, Newcastle Regional Art Gallery, Thyssen-Bornemisza Collection, Madrid and Villa Haiss Museum, Germany.

Arabic by Ann Thomson

The Work of Art

This large work of art was created in 1995  using mixed  media on tar paper and canvas. Ann Thomson says,  ' in this  wor, I have used tar paper, which is a building material. I like this paper for its tonal surface and the fact that when ripped it reposes the tar and strings that are inside. I also like it because it is durable and archivally sound. @Arabic" relates to my sculptures, in that using the tarred paper is more like a three dimensional way of working. '

The work itself is quite abstract and the viewer may make out different shapes and images. Some viewers have commented that the work resembles  forms of violence  but  it is up to the viewer to decide. It is afterall, a conversation piece.