Each line is portrayed one at a time using a thin layer of oil paint. The colours are applied wet-in-wet and reworked several times. This method of making betrays the haze of memory and nostalgia and eventually the performance leads to dissolution. By reproducing the marks over and over, a new variation of the curved line formation becomes visible. Sooner or later, this unlimited mode of making reaches a natural conclusion as the rhythmical curves move into a new order, or suggest another abstraction.
I am interested in the gestural brush mark as part of a formative process, and what this brings into play; continuous line, free-form arrangement, act of discovery, abstract expression, changeable contour. With the final piece, I want to engage the viewer in the contemplation of gestural abstraction where many coats of paint give structure to a feeling of what lies beneath and beyond. I’m looking for a constant shift between the painting’s affinity with landscape and the lexicon of gestural painting.
Amanda Ansell studied Fine Art Painting at the Norwich School of Art and Design (BA Hons) and The Slade School of Fine Art (MFA). After studying and painting in London for eight years, Amanda returned to Suffolk when she was invited to be an artist in residence at Firstsite, Colchester. The same year, a body of work was selected for exhibition at Kettle’s Yard, Cambridge and she was nominated for Jerwood Contemporary Painters.
Recent exhibitions include: ‘Mountain Size’, Pineapple Black, Middlesbrough; ‘Made in Britain’, The National Museum of Gdansk, Poland; ‘Beep Painting Prize’, Swansea College of Art; ‘Where Suns Rise’, Yantai Art Museum, China; ‘Rearranging Curves’, Arts Library Gallery, London; ‘Drawing into Landscape’, Crypt Gallery, St Marylebone, London.
Amanda’s paintings are held in international private and public collections including: Swindon Museum; Yantai Art Museum, China; Gissings, London; East Contemporary Art, Priseman Seabrook Collection.