Page 60 - Anne book

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PULP
Like a pendulum, Anne swung between solid, rough sur-
faces and airy, transparent ones. In some of her experiments
where she tried to integrate paper into paintings, she used the
paper pulp to build up rough surfaces and shapes. To begin
with she would use old tarpaulins as the base of her pictures.
She sprayed dyed pulp onto the tarpaulins with a spray gun,
which had been purchased in the USA. The pictures were
space-like, blurred and poetic, when the spray gun was used,
but compact and more concrete when the pulp was used as a
kind of cement. Lines and surfaces were built with raw plant
pulp. In Japan she later learned to draw motifs with paper
pulp by adding tororo, originally a powder from the hibiscus
plant which makes the fbers of the paper burst so they fow
more slowly - almost like a kind of slime! This technique
enabled her to paint more delicate motifs with the paper pulp.
Anne dyed the pulp herself with suitable pigments and built
up surfaces on which she could draw her compositions.
In some of her experiments she tried to combine sheets and
pulp mass with wood, foam rubber, plastic, iron etc. She cre-
ated furniture sculptures and small sculptures with the pur-
pose of examining the interplay between the different mate-
rials - organic vs. inorganic, soft vs. hard, attempts to make
paper look like metal, glass, leather and much more.
The Pillar, 180 x 60 cm, 1987, Daphne paper,
coloured fragments of paper and pulp.
The National Art Fund