Ana is interested in blurring the relationships currently existing between imagination and reality. Ana’s mindset takes her to pathways unseen by others, as it’s her Ultra Violet Lair. There are no boundaries. The gates are permanently held open by the official guards, sunflowers with doll like eyes. They speak of other creative adventures revisited by Ana where nature, old architecture and hints of yesteryear organically coalesce into one. Ana’s interpretation is brought to the table from a wallpaper perspective. It’s a merry-go-round that Ana’s inner child has made clear, she never wants it to end.
Ana has a nostalgic memory to her childhood, visiting one of her grandmother’s house in historic Maitland, NSW. The shot silk turquoise curtains, old furniture, porcelain dolls, ornate gold frames, one in particular of a Renoir (print). The backyard presented more treasures, a considerable sized pepper tree, animals galore and a mixed assortment of flowers wild and kept. These pretties rested below the wrap around wooden veranda adorned with comfy lounges, scouting invitations to rest upon. No wonder after Ana recently moved to the Hawkesbury, she fell in love, which also changed the direction to her art.
Image featured here (prior to moving to the Hawkesbury) is one from her ‘Mannequin a day’ project, which replaced the blah of pregnancy and complications with neon lit adventures. Styling ‘Magenta’ mannequin, taking her to parks, cemeteries and random haunts that met Ana’s criteria for one hell of a good background. Once the lights flashed green, Magenta in place, set design, photography all dusted, to later editing and uploading the ‘one’ to Instagram. This concept was adapted by Noah Scalin’s ‘Skull-a-day’.
Kienholz to Beardsley
Inspiration for Ana, stems back to Ed Kienholz & Aubrey Beardsley. Kienholz, for the hands on spectacular works such as ‘The Merry-Go-World or Begat by Chance and the Wonder Horse Trigger’ and ‘The Hoerengracht’ a life-size installation of the red-light district in Amsterdam (in collaboration with his wife Nancy Reddin Kienholz). Beardsley, for equally mind blowing works, however on paper. Ana’s production design for her surreal short film ‘Peek Show’ (image left) was inspired from Audrey Beardsley’s black and white illustrations, however rich in saturated colour.
..heart and soul for
Ana studied Visual Communications at UTS (2006) & Fine Arts Diploma from The Sydney Institute of TAFE (2002). Ana’s wildflower nature to do her own thing (focus pocus on art projects) has always been the key, freelancing has opened such doors, working for Temple and Webster, B-Line, Random House and The Photo Studio, a range of photo retouching to graphic, video, costume and web projects. Although a full-time role at La Maison, where Ana was the photographer of all stock, content producer and marketing coordinator, was the mint! Front & centre is looking after Ana’s two year old performing artist Amelie.
Ana put her heart and soul, like all projects into her Production Designer role for ‘Emergence’ showcased at the Sydney Opera House and the Canberra Street Theatre for Synarcade Audio-Visuals in 2007. It’s the conceptual and the making that Ana thrives on.