Anthea's paintings featured in 'House & Garden'
in the October, November and December issues 2017.
House & Garden magazine. Anthea's artwork featured here.
evocative, richly textured paintings are rooted in the landscapes around her Norfolk home, the Cornish coastline and parts of Africa and Australia where she frequently travels. Feeling a strong connection to place, she collects earth pigments combining these with paint, subtly revealing past histories."
'PAINT OUT NORWICH 2014 and 2016'
Selected artists, The Hostry, Norwich Cathedral
"I have never seen people paint as a competitive sport before ... it was astonishing to witness in the city ... what really amazed us was that this brought together ... pressure of time limit, pressure of light, pressure of constantly interacting with a public ... to a deadline." - Amanda Geitner, Sainsbury Centre for the Visual Arts (SCVA)
Paint Out Norwich 16
EASTERN DAILY PRESS - Chongoni Womens' Art Workshops, Malawi
GLOBAL NEWSBOX REVIEW
'Ancient Landscapes, Modern Times'
Le Mur Vivant, Pimlico, London
Reviewed by Crispin Wellbeloved
15th February 2012
"Anthea Eames uses the pigments and textures of the earth itself to create pictures which reflect ancient landscapes lying just below the surface of the familiar and new. We are creatures of time and our past is always part of our present whether we are aware of it or not.
She uses chalk and woad, the vegetable dye with which the Iceni people of Norfolk decorated their bodies for war, and which is still produced by a farm in the district, to create the soft, subtle blues of her paintings of the land and seascapes of East Anglia. She uses shades of ochre to represent the hot colours of the Sahara and Australia. She grinds the dyes herself and mixes them with acrylic medium to turn them into paint. Inspired by Australian Aborigine art, she gives texture to her paintings by adding ground shingle, sand and grains of gold, and scorching the surface to recreate the power of fire. The result is tactile, original, many layered and immensely pleasing."
"HOW ARTISTS SEE NATURE"
Published by Green Pebble Publications
Edited by Ruby Ormerod
"Anthea Eames draws on nature not only as an inspirational resource, but also as a source of natural artistic materials. For example, in "Ancient Settlement" seen above, she has used Hunstanton ochre and sand; a symbolic as well as practical gesture which links this painting specifically to its setting."
An artist’s work can often be viewed as a metaphor for their life –a way of making sense of their particular experiences – and my current paintings seem to fit this explanation. They are a summing-up of memory and experience, recapturing the feel of a place, not in any strict topographical sense but as a subjective and personal view. We are drawn to the sea as a place of contemplation and personal reflection. The coast in particular, being the boundary of our island, represents a point of departure from which we travel – and to which we return.
"Ancient Settlement" is about time passing, what lies beneath the surface and the patterns created by people working the land. I use abstract forms and multi-perspectives to suggest archaeological remains – vertical shapes pulling down beneath the surface – but almost always include a horizontal view across a distant horizon. The hope is that the work should reveal itself slowly over time like its subject matter, and not be immediately obvious.
The materials which I use to create the work each retain a special association with their particular source, origin and locale and lend to the piece elements of their own meaning. For example, the use of Hunstanton ochre and sand specifically links "Ancient Settlement" to the North Norfolk coast. Having collected my earth, I grind it in a pestle and mortar until it is the required consistency and mix it with acrylic mediums to achieve a certain texture.
My intention is to evoke a sense of history, of past people and cultures leaving their mark upon the landscape, by developing my own visual language of marks, shapes, colours and textures to express this. The inspiration for the work seen here comes from walking beside the sea in Norfolk – my home for 25 years – as well as visits to Aboriginal sites in Australia and the unforgettable ten years that I spent working and living in central and west Africa. I am deeply attached to these places and part of my practice is to collect earth, raw pigments, chalk, sand and shingle from these areas and grind them into paints which I use to make colours and textures.
For a long time I struggled with the concept of pulling together my ideas about such disparate landscapes – the chalky downs of Berkshire, the flat expanses of Norfolk and the vast and very different landscapes of Africa and Australia – all have particular personal resonances for me. It seemed that the one thing they all had in common was a sense of history and that I was part of that history, by walking through the same landscape.
Sometimes I work on wooden panels and sometimes on canvas, putting down the textures, adding and scraping away, constantly layering so that patterns and shapes can be partially glimpsed beneath the surface. I scorch the wood with a gas blowtorch and finally I might polish some areas or leave them matte. Eventually I know when a piece is complete but each one can take several weeks and so I work on a whole group at the same time. This helps to create a body of finished work.
"Ancient Settlement" was selected for NCA10 at The Forum, Norwich, and for ‘Coast’ at the Cromer Arts Festival.