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Ciao! Ciao! I’m excited to announce that I have been awarded the Barnes Artist Residency. This opportunity will take me to Italy, where I will have the time and studio space to live and create freely over the summer of 2014.  I’m looking forward to soaking up the history, art, color and light of Italia, marking the moments in paint, and washing it all down with a glass of vino. The adventure becomes ever sweeter, as my co-recipient also happens to be my fellow-artist and husband, Aaron Thompson.  I can’t wait to share what unfolds on our canvases.


Grazie to the founders, Victoria Barnes & Tim Conte, for this incredible opportunity. 1901390_230755720381685_394500629_n

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Framing for Neiman Marcus Exhibit

I’m prepping for an exhibit with Neiman Marcus in King of Prussia PA. The show will hang on November 18th so we have just under 2 weeks to go. A few weeks ago we ordered our framing lumber from Xylo down in Savannah GA. Now begins the framing!

I spent yesterday morning at Aaron’s studio cutting cradles and sanding down paintings. Aaron is helping me (cue super hero music). I’m more of a brute force, figure it out as I go kinda lady. (Think kid in candy store, diving straight end to the deep end of pool etc) Aaron has a bit more finesse and precision with measurements. Thank God.

In a few hours yesterday we got a good chunk of work done before heading off to other adventures. I even had time to sand some paintings back. I love my power sander.

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Candid Photos

Have you ever seen a stranger pointing their phone or camera not just in your direction, but directly at you? Or have you ever needed to snap a picture of a stranger, then pretended you were texting when they caught you? 

One morning in London, I took a long walk to the Tate Modern. I went alone. Upon arriving, I wandered the galleries stopping only for what called to me amidst the herds of people. Despite my irregular pattern, I noticed that my pacing had synchronized with another visitor. The man, who appeared to be in his early fifties, was well but casually dressed. He had grey hair, a beard and dark rimmed glasses. He wasn’t too tall. He wasn’t too short. In fact I probably have no recollection of what he truly looks like. So this is likely the most generic image my brain can muster up. Basically the guy didn’t creep me out, but I was very interested in his camera which repeatedly found its lens in my direction.

What does one say in this situation? At first I was bothered. But I was in a museum.  He was probably an artist as well. When I see something that inspires me, I want to snap a picture or somehow save the memory. With that, I let him shoot his pictures. As I rode the escalator down to leave, he took one last photo and I looked straight in his camera, with an expression of “You’re not so smooth buddy.” I came close to sharing some sign language but my hands were full from the books I’d bought.   

 In case he was a creeper, I avoided the main exit and left out the back door of the museum, immediately finding a cab. I wasn’t going to walk home alone. I was intrigued, not stupid. 

This all came to mind later that very same day. I went to Kensington Garden with my mother and Sister who met me in London. It was an atypical day in the city, sunny and a beautiful 75 degrees. The park was filled and I was inspired, suddenly I was the creeper. I was the creeper and I loved it.  Here are a few of the hundreds of photos I took that evening. 

 

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I found her at the Tate Britain. I was a little obsessed.
I found her at the Tate Britain. I was a little obsessed.

 

 

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Three sisters who love each other so much that even when given an entire park to spread out in, they still make a sister sandwich.

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This little bump. I adore her.

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Taking a rest from chasing the birds and the dogs.

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Angry Birds

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Her.

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From left to right. My Sister, Eva the orchestral Flautist in Finland Symphony Orchestra who wanted to punch me in the face for dragging my feet and taking pictures of everyone. What an embarrassment. My beautiful Mother. My empty seat. A man I do not know, who whistled incessantly and played with his phone like a child.

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ah, to be young and in love.

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They caught me! One looks like she’s going to kill me and the other is saying “really?” I looked up at the construction behind them after I snapped the pic. and then I looked at them… and I LAUGHED!

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this one is interesting. The couple in the foreground is completely connected. The couple in the back ground is separated. Two extremes of relationships.

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white t-shirt club.

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She caught me!

 

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London Calling

I can’t believe it has taken me this long to post about my trip to London. As soon as the airlines finished their 48 hour reroute-a-thon, I had an amazing time. Here is a smattering of the work enjoyed while journeying.

sexy paint.

sexy paint.

detail of sculpture, "Cocon du Vide 2000" by Chen Zhen, Chinese born Artist, 1955-2000

detail of sculpture, “Cocon du Vide 2000” by Chen Zhen, Chinese born Artist, 1955-2000

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Me and my boyfriend, Turner, in his wing at the Tate Britain.

Me and my boyfriend, Turner, in his wing at the Tate Britain.

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Painting – Ignition

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Ignition, oil on panel, 32×48 inches, 2013.

This piece is called Ignition. It’s about motivation and drive. It’s about lighting the fire within ourselves and running like hell with it.

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Fei Fei Sun – Basking in Her Own Light

Fei Fei Sun - Basking in Her Own Light

Oil on Canvas, 48×60 inches, 2013
By Anna Fox Ryan

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September 5, 2013 · 3:34 pm

Printmaking

A few months back I visited the studio of Deb Strong, a painter and print maker. We met at at the opening of Artist House Gallery’s “New Faces” exhibit in which we were both showing our work. I’ve been wanting to learn printmaking and thus far I’ve been completely unsatisfied with the spoon-burnished monotypes I’ve tried. They had all the appeal and quality of a home-made sock puppet, enjoyable enough but far from sophisticated. (Unless that puppet has a top hat, coat tails and a pipe, in which case I say “well played, classy puppet.”) In my DIY prints, there were subtleties in the initial inking that didn’t come through in the print. I came to find out I was missing a few steps and half-assing the ones that I did get right.

Deb has a press. She showed me several ways to do mono printing. Moistening the paper before printing was a step I mist (get it? missed…mist…) This helped the paper fibers to open up and absorb more of the inks when pressed. The press, of course, helped tremendously. With the layers of soft blankets over top and the high pressure of the rollers I get maximum squish, a technical term, and the subtleties in my ink image came through beautifully. 

Printmaking requires you to think several steps ahead. Each layer and step is preparing for the next step and every step has a proper technique. Unlike photoshop where I can create and delete layers on a whim, this is permanent. I can’t control-Z my way out of the ink.

Props to all the printmakers out there. One artist and printmaker I really enjoy is
David Hawkins

Here is one of mine –

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Genius

Ideas are not ours alone. Ideas belong to the greater consciousness.
I watched the TED talk presented by Elizabeth Gilbert.
She speaks about creativity, where it comes from and how to see it. She points out that the ancient Romans and Greeks didn’t assume all responsibility for creativity and innovation. Instead they used words like “Damon” or “Genius”. One would have a genius, like a creative helper, to channel an idea from the high subconscious or god to man. We can make it material, but they deliver the inspiration. This is liberating. As I have experienced and Elizabeth points out, as an artist one of our greatest struggles arises in the moment after we’ve created our best work. That’s when we are faced with a fear of having peaked in our life or careers. Will I ever top that? How depressing? So to believe that our creative genius is due in part to a genius and not our genius, provides a huge relief. It takes the pressure off. When I succeed, I have someone to thank. If I fail, well then I just wasn’t understanding my genius correctly. Better luck next time. On to the next.

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Illuminated Portraiture

Power Over, 48×48 inches, oil on three panels

Last year I began working abstractly.  My interest in power was in flux. No longer interested in the power of industry nor the power plays of politics, I turned inward and began looking at the power of self. This is an interest that continues to grow and the paint has been an amazing vehicle to explore with. Paint lets me speak in a language that is less concrete.

The painting above is about relationships. It evolved very organically. During a rough spell I put on my headphones, turned on my hemi-sync and began painting. My original plan for the image quickly changed and I just let go and allowed myself to move and channel the image. My glasses were off, which helped because it kept me from analyzing what I was doing. I just allowed the painting to develop through my hand. After the session I stepped back to find the image and the message clearly written in front of me. What I’d felt during the session was an amazement at the illusion of control.  In this life experience we can at times feel weak, powerless and bullied. At other times we may feel strong but perhaps tempted to abuse the power given to us. NO matter our stance, our actions, there is a greater force, orchestrating it all. Call it karma, the universal plan, greater subconscious or God. Call it whatever you want. It is the great balancer. So for me this painting is about trusting my relationship with this greater power, regardless of my place in the world.  For me, this painting is proof of a higher power.

Abstract work like this lets me look at emotion, sensation, experience, etc without having to describe anything concrete. Sometimes things just cant be categorized. So, it’s nice to have the freedom to paint without being bound to a form. There are times when I crave form though. I paint about the human experience, why not blend the human experience with the human? So these abstractions ended up supporting a series of portraiture that I’ve recently begun. The two images shown above are some of the early sketches for the series.  These two are self portraits but I’m very excited about some of the people I have lined up to model for paintings.

Anna Brow Chakra 1, 11x14inches, oil on panel

Anna Throat Chakra1, 11x14inches, oil on panel


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A Rare Sighting

Aaron and I took a moment to paint the view in Valley Forge one evening after I finished work. Aaron met me on the hillside by the road and we ate the sandwiches and chips he’d packed for us. He’d been painting for a bit, mentioned that people “seemed interested.” I realized what he meant after I set up and began laying the paint down. Cars were slowing to a near halt as the drivers rubber-necked out their windows to see what we were up to. One car even came to a dead stop in the road and started video taping us. The line of cars behind them honked until the couple pulled off onto the grass. It’s always nice to see so many strangers nearly wreck their vehicles to catch a glimpse of the rarely spotted oil painter. It’s not like we were practicing a mating call or any sort of performance art, but simply appearing outside our natural habitat of the studio seemed to be enough.  I guess we do tend to hermit, so most of our existence is cloaked in a solvent scented mystery. We painted for less than two hours before the sun dropped and  Aa said as he always does when the horns blare, brakes squeal and civilians holler out the car windows, “If you think painting is dead, just come out here and watch the crowds gather. They always will.”

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Movement

One thing that 2012 has certainly brought is change. To mark one of many changes, Aaron and I moved out of Philadelphia to the Pennsylvania countryside about two months ago. We’re really embracing our new life in the country which includes plenty of wildlife (both in and out of the house), a wood burning stove (which is great because I love to set things on fire) and a new addiction to the pumpkin whoopi pies that the woman at the farmers market makes. (Seriously, they are only a dollar a piece and they are unreal!) The most important gain I’ve found in coming here is the time and enthusiasm to paint. Here in the calmness, down our mile-long gravel road, I’m far more inspired than I was in the city. My vision is only clear when I can step away and exist in my own being, if that makes sense, and I can do that now. So here I am. And I can see again. And I’m so thankful for it.  With that in mind, my new body of work is a marked evolution of my past obsession with power. This movement forward, however, looks to the power within. Above is a picture of me in the studio with a glimpse new painting in progress.

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Artist House Gallery, Philadelphia PA

I’m excited to take part in a group Still Life exhibition with Artist House Gallery in Philadelphia PA. I’m also excited to have my painting selected for  the show card (LEFT), representing the exhibit which includes over 30 artists. There are two receptions that you are invited to attend. The opening reception will take place on Friday Sept 7 from 5-8pm. An afternoon reception will take place on Sunday Sept 9th from 1-4 pm. I will be attending the Sunday reception but unfortunately I am not able to make the Friday opening. The show will be up for the entire month of September, so if you are not able to make the openings please note the gallery hours on their site at www.artistshouse.com.  I hope you are able to swing by and see the show. Keep an eye out for my husband Aaron Thompson who will also have some exceptional work there. Looking forward to seeing  those of you who can make it and/or hearing about your trip to Artist House Gallery.

 

 

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Summer Workshops

I’m excited to be teaching 2 workshops this summer at Long Beach Island Foundation in New Jersey. Click HERE to visit their website. Be sure to download their Summer Catalog to view course listings. You can find the my courses on page 23.

July 23 – “A Spiritual Exploration in Art” Open to all,  beginners to well seasoned artists. No experience in meditation necessary to take part. This is a one day workshop during which students will be guided through a series of basic meditations focused on the different Chakras, or energy centers of the body. After communicating with the self, we will respond individually in writing and/or color drawings to document our experiences. The introspection can be shared or kept private. This a day for development of self.

 

 

August 6 & 7 (Monday and Tuesday) “Drawing as Looking: An intro to drawing techniques” This is a two day drawing workshop that will teach drawing from observation. There will be instruction on formal rendering techniques as well as expressive interpretation of forms. We’ll be producing black and white charcoal drawings. Recommended for those with beginner to intermediate drawing skills.

copyright Anna Fox Ryan

copyright Anna Fox Ryan

 

 

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A spot and a leash

Sunday morning. I’m sitting in my squishy brown leather chair that I recently got on craigslist for $65. I finally feel like I have a spot in the world, in my home that is just mine. A place to take care of myself.  So with my coffee and Nickle Creek softly playing from the speakers beside me, I’m able to sit here and just be and just feel. And it feels so good. As a creative person, I, like all other creatives, are most fulfilled by my work when I’m following the pull that comes from my heart. That pull left me for a while, but today I feel it again, like a leash has been hooked to my heart and my guides have simply said “Come with me, darling.”

 

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Sneak Peek at some new work

Transcendence, Drawing, about 4x5.5 feet 2011 Anna Fox Ryan

Oil on panel, 24x38 inches, Anna Fox Ryan 2011

 

 

 

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Now Selling Prints

You asked. I obeyed. I’m now selling prints of my work. (It only took 5 threatening letters. THANKS FOR THE ENTHUSIASM!!)

THE SCOOP

  • Prints measure 16 x 20 inches
  • Each will be signed and dated.
  • Paper is 100% cotton and therefore archival
  • Prints are $150 each

MORE EXCITEMENT (as if there weren’t enough already)

  • Order 2 or more prints and get FREE SHIPPING
  • Order 3 or more prints and get a 10% OFF. (it’s more than it sounds like … I promise)

TO ORDER

  1. email me! annafoxryan(at)gmail.com Send me your order and be sure to include the image title(s) you would like (see options below) as well as the number of prints of each. Include any special notes/requests (i.e. ship to arrive by specific date, etc.) I’ll do what I can to accommodate.
  2. mail payment once you have received your order confirmation from me. Confirmation will emailed to include total price (including $8.00 shipping and handling) and mailing address. (I’m not throwing my address around on here, sorry)
  3. kick back and relax! Once payment is received I will ship your  prints with delivery confirmation.

 

IMAGES AVAILABLE NOW!

Tunnel Vision, 16x20 inches, $150

Mutiny, 16x20 inches, $150

 

 

 

 

 

 

 

 

 

 

 

Oranges, 16 x 20 inches, $150

Don’t see what you want? EMAIL ME!
I WILL BE RELEASING PRINTS OF MORE WORK IN THE FUTURE AND IT ALL DEPENDS ON FEEDBACK FROM YOU ALL! WOOT! THANKS!!

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Instructing a Workshop in Birmingham Alabama Oct 21-22

I will be teaching a

2 DAY OIL PAINTING WORKSHOP
OCTOBER 21-22
FORSTALL ART CENTER BIRMINGHAM ALABAMA

To Sign Up Visit www.forstallartcenter.com
or call the store at (205) 870-0480

I have visited Forstall’s twice in the past few years and always enjoyed my time in Birmingham. In the past I’ve given painting lectures and demos, but this time I’m really looking forward to getting into the paint with everyone. It’s going to be a very exciting weekend and I’m eager to share what I’ve learned from my experience as an artist and a Gamblin Artist Rep. I’ll be traveling there from Philadelphia, PA and I’m counting on Birmingham to give me a taste of that southern hospitality that I’ve missed since moving away from Georgia. Thanks to Forstall Art Center for hosting the workshop! Here is a quick overview of what we have in store.

OVERVIEW
Students will spend 2 days creating a food still life painting while exercising strategic color theory, accurate “keying in” of subject and implementing an engaging composition. Advanced students will begin addressing paint language and mediums in greater depth. Oil paint, mediums and solvent will be provided by Gamblin Artist Colors and Painting surfaces will be provided by Ampersand Artist Panels.

GOALS
Students will work with emphasis on the following:
Color Theory

  • mixing and controlling a full range of chroma within the painting
  • strategic hue organization
  • effective value and temperature statements

Composition 

  • demo and lecture will discuss, lessons will be implemented in preparatory sketches and color comps

Medium Understanding

  • Gamblin mediums will be discussed and available to work with. (Attendees seeking in depth information on mediums should attend the pre-workshop lecture on Thursday evening from 6-8:00pm at the Art Center.

Personalized Paint Language

FOR MORE INFO AND TO SIGN UP VISIT www.forstallartcenter.com OR CALL  (205) 870-0480

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Still Life

I recently removed the still life section from my website.  I do these pieces for fun and for study, so they are better suited for my blog than my site. Here are some of the still lifes that came down.

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Paintin the Sauce

At the risk of looking like a total lush, I’ve knocked out a painting of a beer bottle in my studio. I don’t really take ot the sauce that often, but this afternoon called for something more than a lemon. So, cheers.

This is the detail. If you want to see the whole painting, visit the website http://www.foxryan.com

Detail of "Da Vincis Under a Blue Moon"

 

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Lost

In the Studio - Lost, oil on panel, 4x4 feet 2011

This is a piece that I thought was finished. I hung it in the main room of our home, lived with it and then one beautiful August day a friend and past professor of mine came to town. Jeff Markowsky was in town from Savannah, GA where he teaches at SCAD. He was taking a workshop at Studio Incaminatti (and exploring the city. I was quite impressed with his findings, a frozen yogurt shop that we didn’t even know about near our house for example. This guy is brilliant!) Jeff came by the house to see Aa and myself and he had very kind things to say about this piece. He said it needed “…something.” A final touch, a spark. I don’t think this is doing his critique justice, but what he said got the point across… far better than I am right now. Anyways, I hit it the next day with, well, something, and I am very pleased with the result. Jeff, you were right! Thanks for kicking me in the pants, yet again.

Detail, Lost

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