February 15 - March 15, 1997
In a world where the current fascination with new technologies is growing, the persistence of traditional pictorial work still seems justifiable.
In fact, Anne Ashton’s work has for some years been part of a logic that stems from both the established tradition of landscape and portraiture. The motifs in the work seem to emerge from encyclopaedias of natural history: the subjects give themselves a frontal view and are rendered with meticulous precision.
Surrounded by a decorative painted frame and designated by a specific name placed at the bottom of the image, the work acts as a nod to the preconceived idea that some have with regard to the landscape pattern often presented as a tamed phenomenon or fragment of image.
Moreover, the question of the frame is with Ashton something that is ambiguous. Fundamentally related to the work, it then arises as a negation of itself. But in a paradoxical way, while denying itself, the ornamental aspect so frankly affirmed of this one does nothing but signal all the more its presence while becoming its own reference.
Anne Ashton’s work is part of the mystery, of vanity. But the work of this one is above all, a precious subjectivity.