Page 62 - Anne book

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Anne Vilsbøll is a woman constantly developing her skills,
and paper is her artistic medium. She is on her way with
enormous energy, incessantly in full swing. On the small
island of Strynø she has created a cohesive world of her own:
nature, family life and work. No wasted time - in her per-
petual striving for quality she works, with high integrity and
great strength, honestly with herself, her surroundings and
her expression.
In paper she found an organic material which she creates
from plant fbers right from scratch - a lengthy and tough
process which, in return, gives her the satisfaction of know-
ing her material inside out. Also, the process - a craft that she
masters and one that she has explored for the last 11 years
- allows her to stop at any point to check the texture of the
paper or the mass and thus its expression. A working rhythm
which offers tranquillity and contact with traditions (espe-
cially the Japanese).
Anne Vilsbøll is uncompromising in her effort to preserve the
soul of the material and thus ensure that it remains strong
and alive.
When making paper, she is a craftswoman, but when she
feels the urge to express herself through the paper, she is an
artist. The boundaries between craft and art become blurred,
and it is in this in-between space that Anne creates her works.
She experiments, tests herself as a painter, a draughtswoman,
a spatial architect, a lithographer, a writer, a bookbinder, a
woodcutter etc.
She sells her paintings but she does not sell herself. She re-
mains true to herself in the delicate, transparent, pure expres-
sion of the paper.
The works in the Tropism (imperceptible growth) series are
without colouring - here she gets through to the seeds of
originality that she can feel beginning to grow. Here she is in
touch with her inner self in a simple, uncomplicated manner
which gives her a wonderful feeling of ease and freedom. But
is it painting? Constantly exploring, she asks questions and
reviews herself, her life, her artistic expression. She feels her
way. Above all, she wants clarity. Is there any reason at all
to add more? Any need for frills? Will the pure, undisguised
expression convey anything to others? Is it art?
If it is possible to integrate the expression in and not just on
the material, i.e. not as a mask or covering, but to keep the ex-
pression while still letting the process remain visible, she feels
that she emerges as a whole person. To let herself - to dare
follow along and stop in the middle of her own process - to
feel her way, like a researcher who registers every movement -
honestly and directly.
Her desire for consciousness, organic - invisible growth and
clarity is obvious.
Merete Kierulff, Art Historian, 1991