“If the world were clear, art would not exist.” - Albert Camus, The Myth of Sisyphus
Annamarie Dzendrowskyj trained on scholarship as a classical ballet dancer at Central School of Ballet (London, UK), followed by a career as a PADI Scuba Diving Instructor Examiner/Educational Consultant, Asia Pacific Region. Holding a BA Hons Degree in Philosophy (Lancaster University, UK) emphasis on Existentialism and Aesthetics and holds a BA in Fine Art and BA Honours Degree in Painting (National Art School, Sydney, Australia).
Annamarie seeks to examine the indeterminate nature of 'ways of seeing' and 'ways of being'. She realizes this ambiguous ‘grey area’ by exploring fleeting moments of a world in constant flux. Moments in time that are seen as suggesting a space, rather than defining a space, one that exists between what is seen and unseen, a zone of indiscernibility.
Indiscernible zones are at the heart of Annamarie's life experiences, acting as a catalyst for her work. She brings her years of experience of the underwater environment to the surface. What is seen underwater is affected by interference - water movement, light, weather conditions - nothing appears clearly defined. This is reflected in her work, presenting the emergence and dissolution of forms and settings in ethereal landscapes.
Employing a process of creation and erasure, concealing and revealing, her work evokes the sense of a netherworld that conflates time, place, vision and memory. Exploring the tension between figuration and abstraction, inviting the viewer to question their perception of time, place and space.
Selected Distinctions: 2020 and 2019 Circle Arts Foundation Artist of the Year - Finalist Award. 2019 and 2016 - Finalist Arte Laguna Prize, Venice - recipient of a Biafarin Honours Award & Fallani Serigraphy Residency Award. 2016 and 2013 Finalist Lynn Painter-Stainers Prize. 2016, 2015, 2014 Finalist Art Gemini Prize, awarded 2nd Place in 2015. Exhibited internationally in UK, Belgium, Germany, Italy, Austria, Egypt and Australia with work held in public and private collections.
This review was published by Circle Foundation for the Arts © CFA Press ∙ Images are courtesy of the artist