Page 7 - Anne book

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contain new and meaningful forms and colors to symbolise
diverse cultural traditions found in the West and the East. She
is fascinated by historical legends and philosophies old and new;
aspects of Indian mythology and rituals, Danish history and
contemporary literature such as the personality of Karen Blixen;
all have inspired Anne Vilsbøll’s artistic visions in creating
brilliant colorful forms shapes and patterns. She is passionate to
represent specifc aspects and moments of cultural history. The
Danish subjects in her work for example, “The Tower Bed of
Queen Juliane Marie”, symbolize for her Scandinavian spirit the
“lived historical time.”
Anne Vilsbøll’s subjects refect her diverse interests as art teacher,
art historian and poet, world traveler and specifcally her role
and identity as woman as artist. Her former experiences as art
student, teacher and art historian led to a pivotal meeting in
January 1983 with Georgia O’Keeffe in Abiquiu , New Mexico.
“If I did not meet her,” she concluded: “I would have continued
as an art historian.” Artworks such as “Between the Lines“
and “La Lionne” were inspired by another great woman artist
and personality. Her fascination with the Danish writer Karen
Blixen’s hats and her metaphor of lion hunting likened to a
tempestous rendezvous with life became a stepping stone for
Anne Vilsbøll’s realization that as artist , every new creative act,
like lion hunting, is a passionate confrontation of emotions expe-
rienced by the artist on the commencement of a new work.
The singular meeting with O’Keeffe impacted Vilsbøll’s shapes
and color studies, many of whom are indebted to O’Keeffe
and to early American modern abstract experimentations with
color’s function as light , form and space. For Vilsbøll, color
has different venues, as scientifc color theory, as an optical tool
as well as for symbolic and formal means. The ancient myths
of India are symbolized by brilliant use of brilliant reds, blues,
yellows. At the same time her use of radiant colors is indebted to
American abstract painting practices from O’Keeffe’s generation
up to the 1970s to the present. The artist’s color paintings never-
theless, are the result of personal synthesis employed at times to
interpret a myriad of ancient and modern artistic practices. She
admits to “collecting“ color from different cultures. She stores
color when she travels. From India she extracts the country’s
reds, yellows and from Sri Lanka the generic solar oranges. Not
unlike Vincent van Gogh in Provence Anne Vilsbøll sees color
as the indigenous element specifc to a geographical area which
she identifes as the quintessential character of the area of the
land and its culture. Color is not only to be, it is to be savored,
observed and collected but according to her the pigment is also
to be “touched” in her paintings.
Her paper art embraces old traditions but also respects
Baudelaire’s concept of modernism, “il faut étre de son temps.”
She invests for important commissions for modern institutions
and corporations designs refecting the contemporary spirit
and functions of their respective architectural functions and
structures. Her four large paintings executed for the dining
room of the Danish Ministry of Foreign Affairs, located in an
old warehouse in Copenhagen, are composed of simple bold
forms and colors inspired by their present interior and exterior
surroundings which echoe architectural forms and color from
the building’s exterior surrounding Asiastisk Plads. Yet, buried
into the compositions of the paintings are elements which the
artist’s memories associates not only with present Danish archi-
tecture but also with one of the most important 15th century
forts in the Mewar region which is located outside her second
home in Udaipur in Rajasthan, India. This in sum can be
viewed as an example of the artist’s creed about art.
Handmade paper art remains a beacon of hope for Anne
Vilsbøll to sustain our modern generation with the belief that
we can remain comforted that art continues to revive ideological
mythology in the present modern times we live in. Her art orders
and constructs from chaos to provide us with visions of a meta-
physical world and which at the same time continues to create a
bridge between the past and present.