Emphatically Light Daydream Ego I, 2008, dimensions variable, mixed media
Anika Carpenter’s work resonates a personal sensitivity, pieced and drawn together from recollections, poetry and past experiences. There is a timeless and calming beauty to her work, allowing us to step back in time and visualize our own past. Carpenter captures and amplifies fluid memories that far too often we would dismiss and forget, providing us with snap-shots of comfort and familiarity.
Emphatically Light Daydream Ego I, 2008, (detail, view through peephole in model)
She’s equally as happy exploring her own work as she is working with others. This creates a freshness and vitality to her work – Carpenter is not just your every day artist but also a collaborator.
In her own words
The 356 Days Lament, 2009, dimensions variable, mixed media
Please tell us more about your art and design background and when did you first realise you are an artist?
I’ve always drawn, it was a good way to keep myself entertained. I’m not sure that I’ve had a realisation about being an artist, but when I started writing notes rather than making sketches I realised that I was interested in the nature of language and memory and the everyday. Writing made everyday things fascinating to me.
Still Life: Wedded, pastel on paper, 73 X 49.8 cm, 2012
Can you describe and discuss your most recent work?
I’ve been working on a series of Still Life chalk drawings. These drawings are made up of the ‘debris’ of my life, stones I have collected, fabric that has been twisted through sleep, or being worn, ribbons from Birthday gifts. All these objects share an intrinsic value, each is a memento from a treasured moment, one that I wish to remember. Memory is the concern here, its importance, but also its ‘slippery’ nature, its tendency to change as we change, to become confused and connected with other memories. The nature of memory, as well as memories themselves are reflected in the strange nature of the ‘objects’ that I am drawing in this series.
Still Life: Wait, pastel on paper, 73 X 49.8 cm, 2012
I see that you run a course called Talking Art, educating people on Contemporary Art. In my opinion, Contemporary Art gets a deal of criticism from the general public. Is there a piece of work or an artist that you feel has damaged this?
I’d disagree with that, I think that where there are opportunities for people to really engage with contemporary artworks, to respond to it and to hear what the artist intended with their work, then I think that Art gets a great deals from the general public. Olafur Eliasson’s Weather Project at Tate Modern is a great example of this.
Shadows & Peaks, graphite on paper, 29.6 X 20.4 cm, 2012
Looking at some aspects of your work, such as ‘Seeds’, there is a Sculptural facet to your work. Do you ever develop your ideas from one discipline or dimension to another? If so or if not, why?
I like my work to feel ‘physical’, even if the work is a drawing I like there to be a sense that this is something that can be held, something that has weight and texture. Most of my work develops from writing, from working with language, so yes I suppose you could say that I always develop my ideas from one discipline to another, but I always work with a medium that requires time, that needs to be undertaken slowly.
In some instances there is a presence of Poetry, in others Poetry isn’t physically there, only a sense of it? Is this a conscious decision? If so why do you fuse the two together?
Oh that is absolutely deliberate, if I could make a work that did what a good poem does I would be very happy.
Shadows & Peaks, graphite on paper, 29.6 X 20.4 cm, 2012
Which contemporaries would you list amongst your personal favorites and why?
Louisa Chambers – because she creates powerful and atmospheric work that has a strange charm and playfulness.
Rebecca Meanley – she expresses with paint what is often inexpressible, how if ‘feels’ in our heads, and what is takes place in our bodies.
Katrina Naomi – makes the everyday magical, dangerous, exciting.
Dale Adcock – his work has such affect, standing in front of his paintings is like standing in front of ancient monuments.
Where do you see yourself in 10 years?
In the arms of a hairy man, drinking red wine.
Born in !973 Kent, England, Anika Carpenter currently lives and works in Brighton. In 1997 she graduated from Bath Spa University with a degree in Fine Art.
Since completing her recent MA in Fine Art through Kingston University, Carpenter has exhibited frequently in the UK. In addition to producing her own work Anika runs Talking Art which runs short contemporary art courses in Brighton for adults.
All images courtesy of Anika Carpenter | www.anikacarpenter.com
For more information on Hong Kong Art Tutoring please contact:
Gail Deayton
Telephone: +852 9722 8353
Email: gd@gaildeayton.com
