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" (from anthropologist, Victor
Turner) that 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.