CONVERGENCE — New Work by Anna Carll

convergence noun

1 : the act of converging and especially moving toward union or uniformity

example: the convergence of the three rivers

synonyms: concurrence, connection, merging, concourse, crossroads

Urban Harbor #313

36 x 80 inches — MM on hollow-core door

SOLD—Private Collection

The Urban Series

“When I first conceived the Urban Series, I was thinking of the cycle of life in relation to my Mother’s diagnosis of dementia—the painful erosion of her mind and personality. When I pursued this line of inquiry, I saw a distinct correlation between what was happening to my Mother and how nature erodes our cities, towns or villages with acts of natural disaster. Through this lens I began to see that there could be many different but convergent collections within this series—each with their own characteristics and related in form and structure.”

Within the Urban Series all the colors, shapes, textures, lines and compositions converge to convey the same concept; the exploration of city life in conflict with nature. Carll designs and creates the majority of her collage material in Photoshop and then prints the images on acid free sketch paper. “I have a lot more control over the imagery and am able to create files that explore different images of our local infrastructure through a process of layering my photos with grunge textures that cause fracturing of the forms within—much like what nature does to our communities.” This process is unique to Carll’s background in graphic design and illustration—a way to merge all of her skills from her early career with her current multi-disciplined art practice.

Viewers of this work will discover all kinds of patterns made from utility wires, city grids, wallpaper patterns, monoprint designs, architectural elements and plant life. All of this imagery is merged with fine art & handmade papers layered in the form of collage as a dense construction of form and palette choices. Carll refers to this process as “painting with paper.” Anna Carll combines painting, collage and mixed media within a multi-disciplined art practice using her own vocabulary to create powerful visuals that embody her unique vision of the world.

Karen Hewitt Hagan and her team @ Hagan Fine Art present: CONVERGENCE — New Work by Anna Carll — on view through September 2023.

Event page @ Hagan Fine Art

Opening reception: Friday September 1st — 5-8pm (This will coincide with the CGA Artwalk in downtown Charleston, SC.).

Art talk with the artist: 7-8pm.

125 Church Street

Charleston, SC 29401

+1-843-901-8124

Connection—Gratitude for New Relationships

A couple of weeks ago I completed one of those puzzles on Instagram where actual words were embedded into random letters across and down to form a large square. The game was that the first four words you “see” are what defines your current attitude towards life. My four words were connection, gratitude, strength and care.

As I reflect on this past year, and imagine my direction for 2023, what I deeply feel is gratitude. Since November of 2021 I have picked up four new galleries that are reshaping and reinforcing my art practice in unexpected ways. Each new gallery connection has upheld my belief that there is real substance in the new directions I have taken with my Urban Series. Over the last several years I have recognized and refined interpretations of urban life here in Chattanooga through a birds-eye-view of city streets and structures in conflict with nature. This new work reflects the strength and determination of both humanity and Gaia in a push/pull dance for the dominance of Earth. The emergence of this body of work is getting a lot of interest and appreciation not only by the public but the purveyors of art as well.

Urban Botanical #287 is now available @ Craighead Green Gallery

The newest association is with Craighead Green Gallery located in the heart of the Dallas Texas design district. Kenneth Craighead saw an ad in Asheville Made Magazine with Citron Gallery where Rand Kramer featured my Urban Botanicals—Citron was the first of these four new galleries to represent me in this latest web of connections (the cover of that magazine issue highlighted one of Craighead Green’s artists). Kenneth immediately contacted me and we began a dialogue that lead to a mutual understanding of representation.

Craighead Green Gallery’s Showroom Entrance

One of the many things that I love about Craighead Green is their long-standing reputation both locally and nationally of providing outstanding representation for creators they value. They also showcase a wide variety of contemporary art that reflects all manner of theory mixed with creative form within a large 6,000 square foot space. Craighead Green has been in operation since 1992 which shows not only a true dedication to art but also the business acumen to weather the ups-and-downs of the crazy art market. I couldn’t be in better hands moving forward into the future.

Urban Botanical #288 now available @ Craighead Green Gallery

As this current journey continues to unfold, I would like give some credit to my Instagram profile that I have meticulously built over the last seven years—never underestimate the power of social media. This endeavor has finally paid off with lots of exposure and also gives me the opportunity to keep fellow artists, collectors and galleries up to date on my studio happenings. Yet another form of connection (whether dubious or not) in the art of building an online community. For me, connection = growth not only personally but professionally.

For more information on Craighead Green Gallery check out their website @ www.craigheadgreen.com.

View my Instagram profile @annacarllart

Emergence—New Adventures in Art

Most of us creators have been surprised at how the pandemic has affected the art market. With the collapse of the event industry, we’re seeing a renaissance emerge with brick and mortar gallery’s across the globe. There is still a part of me that feels guilt about the prosperity that the pandemic has brought to me. Even though I’m now busier than ever, I’m still maintaining a mindset of acknowledging and expressing daily, gratitude in a time of loss (I borrow this phrase from a fabulous artist I follow on Instagram, Daryl Burnett—@darylburnett).

At this time and place, I am pleased to announce three new gallery representations. Last fall I joined the Citron Gallery in Asheville, NC—the incredible artist Rand Kramer’s new studio/gallery on Biltmore Avenue. This spring I joined the family of Higher Art Gallery in Traverse City, MI, and this coming Fall, I’ll begin a relationship with Hagan Fine Art in Charleston, SC. I feel right at home with all of these fabulous galleries and hope to maintain a long lasting marriage with them—for that’s what it is, a marriage. Long discussions about what is working and whats not working…coordination of social and work calendars, the general support of each other and finally, the acceptance of our place in the gallery family.

Urban Grid #78 is available @ Citron Gallery. Contact Rand Kramer @ +1-828-785-4131 for pricing.

Visit Citron Gallery in the heart of downtown Asheville, NC with fellow artists, Rand Kramer, Betty Clark, Frances Domingues, Kieta Jackson, Kento Saisho and Kerry Schroder.

Urban Collage #257 pre-sold before arriving at Higher Art Gallery. Contact Shanny Brooke @ +1-231-252-4616 for availability of other Anna Carll pieces.

Shanny Brooke of Higher Art Gallery is a fabulous artist in her own right and a wonderful art dealer committed to representing her gallery family.

I’ll be very busy over the summer designing and creating new work for Hagan Fine Art in Charleston, SC and my long-time gallery relationship with A Gallery Fine Art in Palm Desert, CA. Lisa Dempton has navigated the art market for decades with a rich history and connection to Palm Desert as A Gallery Fine Art has been a family business with deep local relationships in the community. Hagan Fine Art also has a long and deep relationship with Charleston, SC—I’m so looking forward to working with them and getting to know the Charleston art scene.

Urban Grid #88 is available @ A Gallery Fine Art in Palm Desert, CA. Contact Lisa Dempton @ +1-760-346-8885 for pricing.

The time ahead promises to continue to be uncertain with COVID being such a huge part of the global narrative, however, I feel rejuvenated by my internal endeavors in studio work and feel that gratitude in a time of loss every day as I continue to forge ahead with these new relationships.

Be well everyone…I’m sending lots of LOVE out into the world.

All the best,

~Anna Carll

What Remains: an exploration of the Erosion Series

As I quietly paint, I have both decisive moments and an earnest, listening eye. In the midst of this what occurs is nuance, serendipity, intuitive associations, chaos, and reduction. Working with abstraction allows me to explore the boundaries between positive and negative space, the use of unusual textures and the mixing of different media. I begin this work flat while adding and subtracting subtle and intense color as well as exploring various types of heavy texture. I allow the water based media to flow and puddle in the valley’s of marks and textures that were first laid down, enhancing the interaction with paint, inks or collaged hand-made papers, gradually adding multiple layers that begin to form the foundation of the urban grids, urban botanicals, character botanicals or weavings. Once color and chaos is achieved across the surface, the pieces then go up on my painting wall where I begin the reduction process.

Studio process shots of Erosion Series: Urban Grid #78

Reduction—the Erosion Series is about seeing the beauty in the natural event of decay and building an aesthetic around it. Like the Japanese wabi-sabi; the acceptance of transience and imperfection, I repurpose and create new life out of past work or begin anew on fresh panels or paper. Inside the studio and out, observing the natural decay of the life cycle has made me appreciate that within reduction the more possibility there will be.

I am fascinated with the push/pull of creating civilizations and nature taking them back. For the grid paintings I begin by taping off the areas of the surface that interest me to begin the formation of the urban street grid as I build the composition between positive and negative space. The urban botanicals focus more on the relationship between nature’s relentless botanical growth in the nooks and crannies of urban architecture. The weavings explore botanical shapes that are either on Arches 300lb watercolor paper or abstracts of sandpaper remnants from my reduction process. These begin with the warp image (the vertical strips) and are then woven with the weft (horizontal strips) to enhance the color or patterns of the piece. The final step is to stitch them together with waxed linen thread. The character botanicals explore eroded botanical shapes seen through the window of letterforms that make a hidden word. Making these paintings is as much a physical experience as a psychological one. I embrace and process the nuances of this work and use the outcome as a vehicle to communicate a narrative about humanity and the natural world around me that exists outside of language. What remains of this process comes together to form all aspects of the Erosion Series.

Gallery 111 @ the Creative Arts Guild in Dalton GA

The Creative Arts Guild in Dalton GA is a fabulous venue to house and showcase these pieces with their commitment to raising awareness of all the artistic disciplines in the community. Join us this Friday, May 3rd, from 5:30-7:30pm for the opening of several shows at CAG.

The Character of Typography

Many years ago when I was in college at the University of Florida, I needed an extra class credit to complete my degree before the grant money ran out. At the beginning of my final semester the university decided that one of my credits from junior college would not be counted due to some hidden agenda to squeeze more money out of a financially strapped student—they never did give me a good reason why this credit was discounted (I've heard this story before). At the eleventh hour I spoke with one of my professors in the fine arts college about my dilemma and the next morning he cleared the way for me to produce three extra assignments using the letterpress equipment that would fulfill the additional requirements for my degree. This was the beginning of my life-long love affair with typography.

Examples of some large movable type made of wood that I used for many of my assignments in 1984

Most of the large type blocks were wood but the university had a pretty good collection of metal type as well. There is something about large letter forms that excite my imagination for I've used typography extensively in my graphic design practice over the years. What I didn't know at the time was that these letter forms would come full circle and excite me once again in my paintings thirty years later. In January I began to experiment with my botanical images in Photoshop by creating a clipping mask of different arrangements of the word "erosion" thus creating a typographical window through which you would see the botanical forms. Within the painting this was achieved by painting out the background/negative space once the botanical forms were complete to create the characters. I love this new direction and plan to make these character botanicals a regular part of my studio practice. 

It's always fascinating to me how everything we do in life has some level of value for the future. There are no true mistakes in a studio for every experimentation of form, color or line within our daily practice always leads to a new twist or direction that enhances our imagery. Once again typography has brought a new character to my work both literally and figuratively.