BA (Hons) Fine Art
Anna Ward’s practice aims to confront materials that proclaim labour, through self-aware site-related installations. The nuances of materiality in drapery and domestic paintings have manifested themselves as folds, creases and ambiguous markings in her works by making oil paints from natural pigments. These evoke historical connotations of labour in local culture and create implications of human connectivity in the textile industries of East Anglia.
Ward’s practice leaves a trace on the work by inhabiting a space where a laboured ground allows human intervention to take its course. This resonates with the juxtaposition between the flux bodily paintings and the fabrication of a material or object. Ward focuses on the notion of revaluing a functional object or material, shifting its materiality. This allows a personal response from the audience, observing form and material to evoke both a physical and emotional response.
Ward’s paintings compartmentalise layers; the painting develops these layers to reveal that which remains undiscovered, to pronounce what cannot be uttered, soaking through from layer to layer. Linen becomes a laboured woven substrate for bodily paint markings to exist upon, developing a structure which observers can move among, navigating, weaving themselves into this atmospheric existence. It takes on draped qualities through size and density, both of which challenge themes of revealing and concealing, permitting the visualisation of what it should and should not hide.