CS: Reductive art is something that seems to be slow in gaining a broad audience and popularity in Australia. Certainly it seems far more accepted and popular in Europe and America where there are a few big institutions that focus on reductive and non-objective practices. Blyton’s work is exemplary in the field of reductive practice. Her investigation into material and form is incredibly refined and thorough. There are layers of meaning in understanding Blyton’s work from the artwork as object and material, to the object as integrated into architecture. These seemingly simple ideas are deep and question the art object and the art institution.
IMMA
Recently Madden has been making paintings about the Northern Lights. These works are ambitious in scale and highly accomplished in technique with bright chromatic contrasts showing the different layers of light at play in this spectacular physical phenomena.
- Painting
- 2006
- Anne Madden
Image Caption
Anne Madden, Aurora Borealis, Arcs, 2006, Oil on linen, 178 x 356 cm, Collection Irish Museum of Modern Art, Purchase, 2007
For copyright information, please contact the IMMA Collections team: [email protected] .
About the Artist
Anne Madden b.1932
Irish artist Anne Madden spent her first years in Chile. Her family moved to Europe when she was four and lived in Ireland and London. She attended the Chelsea School of Arts and Crafts. In 1958 she married the Irish painter Louis le Brocquy. Madden’s semi-abstract work carries references to her Irish background as well as reflecting on life and death. She has exhibited widely, including a significant retrospective at IMMA in 2007 and a solo exhibition in 2023. She is a member of Aosdána.
Artworks by Anne Madden
Self Portrait Transfer Anne Madden 2007
Aurora Borealis, Snake of Light Anne Madden 2006
Night Garden, Les Combes Anne Madden 1993
Night Paths Anne Madden 1988
Window Anne Madden 1985
Openings Anne Madden 1979
Burren Anne Madden 1979
Standing Stones Anne Madden 1978
Elegy II Anne Madden 1976
Menhir (Bloody Sunday) Anne Madden 1976
Megalith Series (4) Anne Madden 1971
Criss Cross 1 Anne Madden 1969
Criss Cross, No 2 Anne Madden 1969
Quadripartie Mountain Sequence Red Anne Madden 1967
Hill in Three Aspects Anne Madden 1964
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I am a huge Lucy Pittaway fan, I actually met her at the Tour De Yorkshire in the town. I have bought lots of her artwork, the staff are always very helpful and friendly the galleries are an inspiring place to visit March 2023
Great layout, atmosphere and staff. Lovely staff very attentive, provided lots of information about international shipping options. Lovely store and bought a print. Will visit again if I ever get the chance to. September 2022
Something fun for everyone. Absolutely stunning gallery, a smile with every picture. Lucy has a real talent for bringing landscapes and creatures to life. I would recommend a visit to anyone as there were no pushy sales people, just a relaxed well-presented gallery with budgets to suit everyone’s pocket and a story behind every piece. Beware purchasing Lucy’s artwork may become addictive 😉 August 2022
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AWW: You explore sound, touch, vision, even our perception of how we experience sensation itself in work such as “Resonations#1” and more recently “ Cloudy Sensoria “. What are the areas that you most want to explore through your work? What do you want the audience to understand and experience?
CS: I suspect that the direction I am currently heading in is the idea of ‘art as experience,’ but one of the dominant themes in my work has been about current trends in listening and hearing in society. I am interested in how this has changed since the invention of portable music players and their proliferation which has meant we can now control our aural experience of the world, customise it, make it have a movie soundtrack! When translating this into my artwork I bring environmental noises to the fore and look to share their beauty and intrigue with audiences. A key series in my practice has been the development of ‘Spectral Photographs,’ which combine photography with aural visual analysis of the site photographed, sometimes with sound built into the artwork as well.
This series allowed me to see my practice in a different way, and is something I think that can be more accessible and easier to understand than some of my more complex installation works. I want the audience to see beauty in our environmental sounds, and also question their own listening practices – are they constantly attached to a stream of music in the world that stops them from interacting with their environment or other people?
AWW: You have been the recipient of a number of major grants and awards including New Work (Media Arts) Music Board Grant from the Australia Council for the Arts and an International Program: Cultural Exchange Grant from Arts Victoria. Can you tell us about those projects and what advice can you share for other artists about how to approach writing a successful grant application?
CS: Both of these grants supported a major interactive installation, Geo Sound Helmets. I produced this installation with a technical team – James Laird (technical advisor, biomedical engineer), Ben Landau (industrial designer) and Eva Cheng (DSP & research engineer). The installation is a series of immersive personal sound environments based on the aural geography of specific locations. Participants are able to control the audio by changing their breathing patterns and moving their head and shoulders within the ‘helmet’ objects (they’re quite large). I wanted to create a very accessible interactive installation investigating new technologies, the place of environmental sound in society, and interactivity through biological responses.
In terms of funding, I found mentorship assistance with Artsupport (a branch of Australia Council for the Arts. Artsupport merged with ABaF in 2012 and is now Creative Partnerships Australia. One integral aspect of writing funding applications for me is to talk with the relevant departments – find out what their current visions are, will the project fit and how do I write about the project to make it clear it is well within their funding objectives.
AWW: What is your next project?
I mentioned the term ‘sensorium’ earlier. This is where I’m looking to take my practice over the next few years. I knew this was a direction I wanted to take my practice. I aim to create immersive environments that encompass all of the senses – to create a ‘seat of sensation’.
For more information go to Cara-Ann Simpson: http://www.caraannsimpson.com
or contact Cara by email: cara [at] caraannsimpson.com
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