Anne Hall was part of the Heide circle, of which Charles Blackman, Sidney Nolan and Hall’s husband John Perceval were also members. Like them, she pursued a Figurative Expressionist style, smudging objective and subjective truths. In a way particular to her however, Hall cut to the nucleus of her subject, bearing their soul in all its beauty and pain.
In ‘Untitled (Knife in Water)’, Hall sets up an intriguing scene. In the foreground, is a sepia-toned photograph of a man. Behind him are two surrealistic figures: one looming, dark and foreboding, the other small, fleshy and pink. In the background is an abstracted pool of water, cut by a sharp instrument. One is reminded of the art theory behind collage – that it is a way of opening up the unconscious and examining what media we consume. Like the point piercing water, this work cracks open our inner selves, it does away with realism to bring further symbolic phantoms. ‘Untitled (Knife in Water)’ envelops the viewer in an intoxicating dream logic.
Like Joy Hester and Mirka Mora, Hall forged a compelling female voice in an otherwise male dominated space. That her career was at times overshadowed by her marriage is a testament to Modernism’s issues with gender parity. Now, collected by The National Gallery of Australia, the Ian Potter Museum and Geelong Gallery, her absence is being redressed.
For collectors of Modernist Australian art and those hankering after a unique insight into the Antipodean movement, Hall is a vital find.
Anne HALL (1945 - )
'Untitled (Knife in Water)'
mixed media on paper
Image Size: 30 x 25 cm
Comes with Letter of Provenance
Collage, pencil, watercolour and pastel on paper.
Availability: in stock
© The Artist or Assignee
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