‘Heritage, art history, pattern and motif are all key to my work’
Annabel Tilley makes paintings that reimagine nature and the landscape as an ongoing series of structures, patterns and motifs.
It is often a visit to a museum, garden or heritage site that sparks something new. Visit to Giverny is a series of watercolours that stem from photographs taken during a visit to Claude Monet’s house and garden in Northern France, and alongside this, an experiment to keep a visual record of the colours used in each watercolour within the body of the painting.
At the beginning the paper was divided equally giving each idea (the image and the visual record of colours) its own area but as the series progressed, and boundaries moved, the complexities of this dual-image process, and its disruption to ‘ordinary’ viewing, began to emerge. The dual-image, by its very nature, hinders the viewer from seeing the picture as a whole.
This led to thoughts about how the figurative and abstract might merge but remain separate within one work and how this might impact on the work as a whole and the viewer who receives it.