Anne Devaney and Sonia Bravo Utrera

Anne Devaney, “Glorious Ginkgo”


Anne Devaney Artist Statement

Broadly speaking, nature is my subject.  I’m trying to create a visual equivalent for the look of the world and my experience of it.  While doing that I also hope to create a beautiful object that is intriguing and even fun to look at.


The “cut paper” method evidenced in this show evolved over a long period of time and was shaped by many influences, among them:  a primary concern with precise color, a keen interest in textiles and mosaics, artists too numerous to mention, and a desire to capture imagery that was often transitory.  Subjects that are available for only a few days at best, and often for only a few minutes, require an “indirect” method.  The reality of my life also did not allow for hours of uninterrupted studio time.  Thus, a method that was broken down into various phases was essential.  In Preparation for Painting (Oxford University Press 1954), a wonderful little book full of good advice, both practical and wise, Lynton  Lamb writes that “The artist invents for himself the skill he needs.”  An important part of  one’s skill is a method, which also needs to be invented, a method that is consistent with one’s goals and one’s life.


These images were created out of paper that I painted.  In all but one, the color is oil paint on gessoed paper.  The one exception, #9, is acrylic paint on paper.  All were finally painted with a matte varnish.

Response by Sonia Bravo Utrera

To create a visual equivalent for the look of the world and how the artist experiences it is the main point I observe in Anne Devaney’s painting, as she herself points out. Really nature in its entire explosion of colours is present in her work.


Looking at the image she offers us, I feel happiness and incredible desire to live further, a sense that life is this kind of beautiful moment that is tragic, fun and dramatic to pass through.


Colours in this image (dominated by yellow), the “cut paper” method she uses, the transitory imagery — in this case real forest scenery and a solitary and reigning yellow tree — take us to a world in which the patchwork influences open a new concern in painting as a visual art.


Looking forward and deeper, I can see some African influences related to the exuberant, buoyant, luxuriant forest in which her yellow tree opens it branches in all directions, mainly to a highest point beyond us.


And I want to get this point!

Anne Devaney lives and paints in Kansas City.  Sonia Bravo Utrera, Cuban-Spanish Scholar, writer and critic, is Full Professor at the University of Las Palmas de Gran Canaria, Spain.

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