Page 34 - Anne book

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After working with solid, opaque surfaces and later with translucent
paper, stretch-mounted over basic frames and independent, foating
sheets, Anne went on to explore papers’ intrinsic transparency as a
light-refracting quality.
The aim of her experiments was to create translucent walls. She
moulded very thin, delicate sheets, which were glued on to 250 x
150 cm perspex plates. The idea was to make these plates foat in
space. This work resulted in numerous exhibitions and commissions
for which she used paper as soft, translucent, tactile wall surfaces.
She saw the walls as intervals, each sheet as a unique surface - no
two sheets were alike.
Transparency
If you compare walls in the eastern part of the world with walls
in the West, you will fnd a contrast between light and heavy. A
contrast that is also present in paper, produced in the East and the
West.
In the East, paper is made of bast fbers, which give a translucent,
light and subtle sheet. Paper produced in the West is made of
shorter fbers - cotton for example - which makes the paper non-
translucent, heavy and not quite as subtle. It is the translucent,
light sheet that I work with in the construction of walls, which bear
within them an inner light, one that changes constantly with the
shifting character of the light to which they are exposed.
Eternal repetition is what characterises the walls made between
1986 and 1994, clear and steady extension. The walls do not
have the hierarchic construction of paintings. Since they can
be repeated, there are no limitations to their use in ornamental
construction.
From 1994 onwards, the walls adopted a different character. They
were made to be the lasting ornamentation of specifc spaces. The
walls were formed as the echo of specifc spaces.
INTERVALS 1986 - 1996