Memory Journeys  2014 to present
    This new work explores the feelings of longing, foreboding
    and completive reflection on life. In comparison to earlier
    work it is made of simplified layers, that represent a more
    subdued vision.   Developed as woodcuts around 1990, I
    transformed the images into screen prints for this project.
    They represent the vigor of my early feminist-focused work.  
      
























    The un-named 2001-present
    One series of large scale prints was begun in summer 2001 as an
    exploration into the myth of Persephone and her descent into
    the underworld.  Then the events 9/11 took place. The work
    was completed as a memorial to the thousands of anonymous
    people who were lost in the underworld of burning steel.  

    I have recently begun to re-work these images in terms of the
    un-named and faceless people who are caught in the violence of
    war or political situations beyond their control.  Are they sisters,
    fathers, mothers or children?  How much loss they must have
    experienced.  

    In my own life, the birth mothers of my daughters, though
    never to be known, are always present for me like ghosts of
    memories.  In her introduction to Karin Evans’ book, “Lost
    Daughters of China”, Anchee Min takes on the role of stern Ai-
    yi or auntie, telling the “raw truth” of their histories.  She tells
    the lost daughters that for their birth mothers, who for whatever
    tragic reason had to relinquish them, they will be forever “a
    broken arm hidden inside the sleeve.”

    Reclaiming the female body 1987-1999
    I have searched for an image that conveyed essential woman,
    not determined by notions of age or physical beauty or the gaze.
    Variations on a simple crouch or squat seem most compelling.  
    It is a stance of our daily life functions of giving birth, of
    elimination and of bathing.  This simple visual metaphor seems
    an appropriate starting point for reclaiming images of ourselves.

    These images are intended to transcend specific age and reveal
    the constant, internal and evolving self found in the private
    space of thought, body and the personal. The women’s bodies in
    each piece are close to life size and can be placed on the wall in
    order to create a dynamic exchange with the viewer.


    Gardens and Gateways 2001-2014
    This body of work includes a collection of inter-related mixed
    media books, paintings and prints created beginning around
    2000 and continuing to the present.  Each of the included
    segments interweaves my areas of interest as an artist.   My
    process is to employ my own drawings, photographs and prints
    in my work.  

    I also use collected materials, ephemera from previous projects,
    and found images.  Media include ink, paint, wax, sewing,
    collage and found objects.   Objects like tin niches (small places
    of worship) seem to echo the temple and garden entryways I
    have photographed and become a kind of gateway within a
    piece.                                                                                               
                          
    As a printmaker I have always been interested in the technical
    overlay of print methods and images.  I like to experiment with
    ways in which printmaking media may begin to come together
    with painting.  As well, the concept of the artist book as an
    object held in the hand or viewed closely thus creating an
    intimate interaction between artist and viewer, are all at the
    center of my visual exploration.  
                                                                  

    Buddhism
    On my first trip to China, I brought along a small book of one
    hundred poems by Han-shan from the T’ang Dynasty. These
    writings by the reclusive, yet deeply socially aware Buddhist
    monk who is thought to have lived anywhere between 627 and
    750 A.D.  I have returned to this volume many times.

    Here translated by Burton Watson is #29
    I spur my horse past the ruined city;
    The ruined city, that wakes the traveler’s thoughts:
    Ancient battlements, high and low;

    Old grave mounds, great and small.
    Where the shadow of the single tumbleweed trembles
    And the voice of the great trees clings forever,

    I sigh over all those common bones—
    No roll of the immortals bears their names.

    Han-shan’s poem echoed as I visited famous spots such as Xian’
    s Terracotta Warriors, the Forbidden City, and the Great Wall
    and most strongly when walking down an unknown street in a
    city or looking out a train window across fields lit with many
    little fires from farmers’ brush piles.  It was the unnamed souls
    of Han-shan’s poems, whose presence is strong in these places
    that have resonated most deeply for me.  China’s history in the
    recent centuries makes this sentiment more poignant.  

    Ancient images of the Buddha and the goddess, Guan Yin, who
    gives solace to the hurt and provides the blessing of children,
    evoke a place of contemplation and peace. As well I find the
    ever-transforming garden to be a compelling and hopeful visual
    metaphor.

    The works I have created contain layered levels, like pages, that
    become gateways to new images the same way garden or
    temple gateways invite exploration and evoke an ancient place
    often visited perhaps over multiple centuries by anonymous
    wanderers.
Anne Beidler---Artist Statement         
2017, against forgetting (litho and woodcut)
2017, finding solace (woodcut and screen print)
The images from this body of work transcend specific age
or gender and reveal the constant, internal and evolving
self, found in the private space of thought, body and the
personal. At the core is the concept of "the center out there"
which ties us to our home place and people, while linking
us to unknown places from our past and future. My work
includes a collection of inter-related mixed media books,
paintings and prints created in simultaneously.  Each of the
included segments interweaves my areas of interest as an
artist.   

My process is to employ my own drawings, photographs
and prints in my work.  I also use collected materials,
ephemera from previous projects, and found images.  
Media have included ink, paint, wax, sewing, collage,
letterpress and found objects.  Imbeded objects, images or
printed textures seem to echo temple paths or garden
entryways I have visited and become a kind of gateway
within a piece. As a printmaker, I have always been
interested in the technical overlay of print methods and
images.  The artist book or print, viewed closely creating an
intimate and layered interaction between artist and viewer,
are all at the center of my visual exploration.