In Sally Anderson’s Sea Belly Screen, the sea is always at a distance. It’s seen from the shore, up high, through a window. It’s always out there, over there—never something you’re in. In these paintings, distance has to be constantly negotiated.
Anderson’s landscape imagery is often taken second-hand, borrowed and filtered through the experiences of others. She takes screenshots of her friends’ social media and references this part of her process in her titles. Heather’s Sea View with GM Vessel and MM Banksias, 2021, is a riff on a view that does not strictly belong to her, and yet it does.
In the en plein air tradition, direct sensory experience is essential to capturing place. Anderson’s works treat landscape as something far less fugitive—far less in need of capturing, and much more powerful. When she paints these fleeting moments, Anderson is acknowledging the split-screen nature of contemporary life, with its layering of simultaneous experience, and also questioning inherited values around immediacy and authenticity.
Full essay over on the Olsen Gallery website.