peter ADAMS dean CHATWIN julie GOUGH colin LANGRIDGE anne MESTITZ sasha REID ron ROBERTSON-SWANN marcus TATTON catherine WOO


Anne is a visual artist and completed her Master of Fine Arts in 2004 and intends to commence a PhD at the University of Tasmania in 2008. Anne is interested in pursuing research regarding visual perception and creating sculptural works that explore thoughts and feelings using colour, line and form. Anne teaches casually at the University of Tasmania and is represented by the Bett Gallery.


The work Levitation was unable to be realized as the site had altered since the initial proposal. The grove of burnt casuarinas had gone. I had white Gaffa tape, a pot of phosphorescent blue paint, a spirit level, a ladder, measuring tape and string. The work Infiltration came into being when I came to the realization that I had intended to impose a geometric, ordered and linear constructive intervention on the site with Levitation. The nature of the nature itself deemed this to be an impossible task. I needed to let go of any pre-conceived forms, the spirit level, measuring tape and string and allow the site to dictate the shape and manner of the work as it was being made. Hundreds of small black stumps were remaining and scattered through the original site of casuarinas. I set about placing a narrow strip of white tape around each stump approximately 30mm off the ground. I later painted them all with the paint which enabled the rings to glow blue in the dark. The significance of the difference between this project and the planned one is that Infiltration is unbounded and without the attempted framing and containment of Levitation. The placement of the rings on the stumps was determined by the positioning of the stumps themselves and I attempted to cover every one as far as I could see so that they appeared to be infinite and disappearing into the surrounding bush. This resulted in there being an effect of infiltration of some mysterious white ring thing happening to the site. Infiltration visually seemed to me like an unstructured pictorial interference across the varying coloured moss surface of the site.


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