The artworks shown take as their reflective starting point and subject matter, historical landscape paintings. From these Anderson removes the figures, or any signs of material presence, so that our relation to the landscape can be explored. Whereas the original works are contextualised historically by the figures they include, Anderson removes them altogether. In so doing, the landscape becomes utterly timeless. Anderson then questions what exactly landscape represents, constrained to remits of absence and void, abstraction and subtraction.
The paintings build on research that has been investigating the western visual tradition of landscape painting and the historical specificities of its development, particularly in the north. The concept of landscape offers a framework for exploring our fragmented experience and understanding, and previous work has focused on sceptical readings of landscape aesthetics, exploring landscape as a sociopolitical category. The current body looks to explore the more personal imperative of the artist and how the landscape is appropriated for personal ends.
When Anderson's paintings grow from the miniature to sizeable, a sophisticated transformation, and one that is unique to her, occurs - she achieves a paradox of slight and subtle gradations of painterly tone, with an indubitable 'all over' surface. These larger paintings are laden with multi-layered paint; weeks worth of application on a fine weave canvas, to the point that the very weave itself disappears. The image becomes pure paint - a new environment intimated and imagined.