Artist Q&A with Ann Thomson
by Dr Claudia Milburn
Q. What is your background / training and how influential has that been?
As a student I studied at the National Art School in Sydney. In those days it was a five-year course. Artists came from their studios for two days a week to teach us. My teachers included John Passmore, Godfrey Miller, sculptor Lynden Dadswell and John Olsen. It was a wonderful education learning from the best. Later I came to know the Scottish artist, Ian Fairweather. His way of painting and living in isolation on Bribie Island had a great influence on my development as an artist.
Q. You have described your work being inspired by imagination, memory and landscape. Can you expand on these sources of inspiration, particularly landscape?
My approach is diametrically opposite to illustration. Memory and imagination play their part in my paintings, but they prompt a certain very personal crystallization. I allow them to develop themselves according to their own logic.
Q. The quality of gestural mark making is evident in your practice. Can you tell me more about the significance of mark-making processes for you?
A lot of mark making is about the way you hold your brush and choose the right brush for the right mark. I have always used lots of brushes and at the end of the day have about thirty to wash (which is one reason why I changed to acrylic paint!)
Q. What do you feel is the relationship between figuration and abstraction in your work?
Abstraction and Figuration are independent and have an essential foundation.
Q. Can you describe your typical daily routine? I understand this often involves a swim in the sea before you go to your studio?
I swim most mornings and then I finally make my way to the studio – after doing all the other bloody things. I don’t like interruptions, so I often find myself working quite late.
Q. How has your practice changed over the years?
I have always liked the idea of creating paintings rather than depicting what is in front of me. For instance, I use landscape for purposes of my own. My work progresses through a process of ‘spiraling’ – drawing from past experiences and reimaging previous ideas in new ways. These days I have a larger library of experience to draw from than the in past, the work has become simpler but more complex at the same time.
Q. Who or what have been your greatest influences as an artist? Which artists most inspire you, both contemporary practitioners and historical?
Almost everything I can think of; the history of Art and the diversity of expression across eras and cultures have all inspiring at different times. I have been influenced by such a diverse array of artists as early Italian painters, Australian aboriginal art, Russian constructivism, early Italian, Spanish, French impressionism, abstract expressionism and so on…
Q. What is the relationship between your painting and sculpture practice, and also your work with ceramics?
Drawing is the fundamental thread that draws these diverse forms of expression together. Making sculpture influences the way I paint by allowing me to see in a more three-dimensional way.
Q. You have incorporated collage elements in your painting. Can you tell me more about this element of your practice?
Collage is a way of shocking the work into another form of existence. I have always enjoyed putting disparate things together to create something new.
Q. You use vivid colour in your work. Can you talk about your relationship with colour?
I love all colours, except Prussian blue. Colour is a very strong visual element for Australian artists. The light here can be very bright.
Q. You have worked on significant large-scale public commissions. Can you talk further on these commissions and their significance in your career?
I was commissioned to create an 11 meter sculpture ‘Australia Felix’ for the 1992 world expo in Seville, a 5.5 x 4 meter mural, ‘Ebb Tide’ for the Sydney Convention Centre and a 9 meter mural for The Queensland University. These works were challenging and helped my confidence and gave me a chance to develop further.
Q. How significant are the elements of spontaneity and serendipity in your practice?
All the elements of the past can enter a painting and allow something entirely new. Being spontaneous removes rational thinking. Disparate images unconsciously appear on the canvas and encourage the act of creativity.
Q. What are the latest developments in your work?
I no longer have the need nor the capacity to paint very large works, but the challenge is to surprise myself and develop further despite the obstacles of age. I see this as a new and interesting era in my life as an artist.
