The first 10 images show examples from “Observations, Errors, and Corrections” a series of large scale drawings that show how I use the situation I find myself in as material for my work. The text, in all works, is in English and Spanish with frequent digressions on the meanings of words and how they relate to the observations I am making. In the process of making the drawing, I cover sections of the text with graphite or colored pencil either because I decide they are irrelevant, not succinct enough, or too personal. The covered areas create randomly formed shapes based on the editing process.
Black Ice was the first drawing I made during my residency at The MacDowell Colony and it is based on an ice storm that had me considering the hidden dangers in black ice and related issues of balance and equilibrium. In Tree Skin, I began to use direct observation of forms in my environment and put them in contained sections. The text in the drawing is based on the importance of accuracy. Sticks and Stones has text that includes sections on the difference between balance and equilibrium, and other sections on the idea of running out of time, action versus inaction and procrastination and hesitancy.
Desabotanar/deshacer (to undo), is a drawing that can be seen in the second studio shot and subsequent details, and contains text that references the meaning of words such as desacatar/to treat disrespecfully; desacuerdo/discord; desafío/challenge; desaliento/discouragement; desasir/to let go of; desanublar/to clear up, brighten up.
The last 5 images are from a project called The Jolly Balance. This was a project based on memory loss and Alzheimer’s/dementia. The work was influenced by my involvement in my mother’s health care and led me to research brain function as it related to her condition. The drawings are made on ledger paper my mother used when she was an office manager and are constructed with moveable sections that the viewer can lift to reveal additional sections of text and drawing. The writing is about progressive memory loss, how the brain functions, and questions regarding how we evaluate intelligence.
Artist Bio / CV
Anne Gilman is a Brooklyn based artist who does large-scale drawings and multi-panel projects. Her work has been exhibited in solo and group shows in Latin America, Europe and the United States including solo exhibitions in Guadalajara, Mexico (2000), Matanzas (2001) and Havana, Cuba (2002, 2004) and a 2-person exhibition at Munson-Williams-Proctor Arts Institute (Utica NY 2008). Recent solo exhibitions include Observations, errors, and corrections, a survey of her work from the last ten years (Mansfield University 2011), Paper Line Edit (UArts Philadelphia 2012), and The Jolly Balance, a featured artist project (The Center for Book Arts NY 2012).
Group exhibitions include The Print Booked (New Orleans 2012), Multiple, Limited, Unique: Work from the Permanent Collection of the Center for Book Arts (traveling 2011-2012), The Kentler Flat Files @21 (Brooklyn, 2011), Book + Line (Santa Fe 2011), Rare Editions (Lehman College Art Gallery, 2009), Action/Interaction (Columbia College, Chicago 2007), Art that matters: When politics gets personal (Michigan City, IN 2006), La Huella Multiple (Havana, Cuba 2006/catalog), New York/Paris DIALOGUE (Paris and New York 2005/catalog), The Missing Link (Berlin, 2005/catalog).
Publications include Gilman’s artist book, Bordes deshilachados/Frayed Edges, released by Ediciones Vigia, in Matanzas, Cuba (2001), and the zines Nishtugadacht, Contra el mal de ojo and Don’t Lose Heart. Her work has been included in Monoprinting (2006), Printmaking For Beginners (2001), and Handmade Prints (2000), published by A & C Black/London, as the cover for Mute Objects of Expression by Francis Ponge (Archipelago Books, 2008) and she has been the subject of interviews on Cuban national television during a solo exhibition in Havana (2004).
Anne was a recipient of a 2010 Fellowship from the Edward Albee Foundation and a MacDowell Fellowship for December 2011 – January 2012. Her work is featured in the 2012 fall issue of Bomb Magazine.