Anthony Smart, Emyr Williams, Robin Greenwood, Sarah Greenwood, Alexandra Harley, Patrick Jones, Desmond Brett, Helga Joergens-Lendrum, David Lendrum, Sam Cornish, Mark Skilton, Hilde Skilton, and John Pollard participate in a group studio visit with painter Anne Smart.
Sam Cornish: I think Feather Ledded and Broiderie Landings both seem to have quite a natural, I don’t want to say 'naturalistic', feel, almost a natural light. There is a sense, not of a representational painting, but of light that you might experience… I think with their 'Impressionistic' colour and the light, they are elusive and they appear out of the corner of your eye. There are different effects, and I kind of sense them changing all the time."
Helga Joergens-Lendrum: " In Feather Ledded …the painting looks as though it has been painted by chance. It appears to be, but of course it isn’t, there is a bit more scraping then painting, whereas if you look to the right hand side you see the yellows, my impression is that you find more marks of the brush, where you deliberately put on marks and dots here which integrate… It is almost like a contrast of more chance and will, although the chancy areas are willed as well."
Robin Greenwood: "I was looking at [Broiderie Landings] this morning and thinking: you go from one passage to another to another, you’ve got the whole thing working together and I had this weird thing, where the colours just start to really come on fantastically strong; it’s like it wasn’t white any more. We know that Anne uses lots of white, but this was coming on as a really powerful, intensely coloured thing, because it was all working together. This painting never lets you down anywhere, it goes on and on. You can move around it forever…