Anne Diggory: Tabletop to Mountaintop
The exhibit showcases the wide range of subject matter that has inspired Anne Diggory through the years, including many Adirondack locations. The work, which ranges in scale from tiny to grand scale, includes drawings from high peaks as well as paintings from her canoe and from within the clutter of her studio. The range of media includes her more recent hybrid works that combine the power of photography, digital manipulation and painting.
About the Artist
Anne Diggory is known for her combination of accurate detail with expressive painting and strong abstract structure – an outgrowth of education at Yale and Indiana University and many years of exploring and painting the natural world. While the majority of her works are inspired by the Adirondacks of New York State, painting locations also include Alaska, Arizona, and various seashores as well as her own city of Saratoga Springs. A current series based on Lake George vistas was inspired by her research on John Frederick Kensett for an article that has been recently published in the Metropolitan Museum Journal. Diggory’s hybrid works in the 2014 exhibition at The Hyde Collection in Glens Falls, NY, were featured in the Adirondack Explorer, Saratoga Living and the March 2015 photography issue of Adirondack Life.
Diggory shows regularly at the Blue Mountain Gallery in New York City. For several years she has been an artist-in-residence at the Adirondack Museum in Blue Mountain Lake, NY, painting on the grounds of the museum during one week of the summer.
Her work is included in many private and public collections including Bessemer Trust in San Francisco, Blue Shield of NE New York, The Hyde Collection in Glens Falls NY, Siena College, and the Yale Art Gallery. Major commissions include an Adirondack scene for the new Upstate Cancer Center in Syracuse and several large murals for the Adirondack Trust Company in Saratoga Springs. Public art works include a collaborative commission of art work for the Saratoga Springs Train Station and a large interactive artwork series for the Albany Institute of History and Art.
More information at : www.diggory.com. Information about hybrid works at hybridvisions.diggory.com.
I keep making art because it’s the way that I engage with the world around me, using my sensitivity to visual detail along with my physical, intellectual and emotional energy. I enjoy the handling of materials and the creation of forms that emerge and dissolve on the flat surface. I enjoy the process – with its inherent anxieties --- of making those visual elements serve a larger idea or impulse.
Much of my current work is inspired by locations that include moving water, dramatic landforms, changing skies and shifting light. I like to find shapes and relationships and then manipulate them to convey what I experience in those locations as well as the sometimes unsettling experience of struggling to understand the visual complexities. The finished works often have an all-over composition in which all parts are given equal attention and the viewer’s eyes are free to wander the surface. That structural preference grows out of my early influences -- Cézanne, the Cubists and the Abstract Expressionists – as well as a personal preference for messy vitality. Recently I have been intrigued by more open, uncluttered spaces such as at the seashore or lakeshore.
A little about Patrick...
My mother first introduced me to the wonderful, messy world of smearing oil pastels at the age of six. Something about trying to capture a memory on paperwhile avoiding school work just stuck with me and with encouragement from my family, I began exploringother mediums. Throughout my school years, I testeda wide variety of subjects, but my love for the outdoors and fishing ultimately led me to depicting scenes of nature in my work. My education continued at the Art Institute of Pittsburgh, where I was fortunate to have many talented mentors helping me to develop as an artist.
For years I have admired the Hudson River School of landscape painters. Their reverence for nature and warning of man’s impact on the environment havenever been more relevant than now.
In the setting of our current environmental peril, it is my hope that my art can call some attention to the purity of an untouched land, and perhaps encourage others to help protect it from future harm.