Anna Sudbina


The series explores the relationship between space, time and memory and is aimed at portraying the experience of forgetting.
All works in the series start as figurative paintings of interiors or exterior spaces. Then layer by layer, like time chipping away at the memories, the details start disappearing.

There is an architectural structure - a base of geometric shapes, right angles and perspective on top of which lies a different realm of the subconscious. The still life in the paintings is distorted, broken into pieces and then put back together again with a network of lines that obscure and bend perspective to unveil what's left once we forget.
The paintings leave space for the viewer's imagination to join the dots, evoking hazy recollection of past memories, of places left behind, visited once and forgotten, blurring the line between the familiar and the unknown.

Anna Sudbina is a contemporary painter, whose work combines elements of process-led abstract and figurative art.

In Sudbina's paintings pieces of frayed reality are artfully combined with areas of pure gestural abstraction, forming her dynamic visual language.

This contrast explores the relationship between actuality and human perception of it. Layer by layer, in an attempt to capture the intangible, she builds tactile planes interrupted by calligraphic lines of ink. Through a mastery of surface and composition, Sudbina's paintings imaginatively balance the language of abstraction with references to contemporary life seen through the prism of her artistic vision.

For several years, Sudbina worked closely with the world's leading Architects and Interior Designers. These working environments and experiences greatly informed her outlook, instilling an inclination toward all things high-quality and aesthetic, a familiarity which is visible in her use of colour, texture and compositions, particularly her Interior of the Mind series.

While studying at Central Saint Martins, Sudbina began combining her training in academic drawing and painting, which she had studied under the esteemed Moscow artist Maria Burganova, with the freedom of abstraction. The result is a body of work that documents Sudbina's increasing confidence in her mark-making and style, moving away from the detail of her earlier figurative compositions toward abstract spaces and figures. To achieve this, Sudbina has adapted new and innovative ways of painting, a process which involves the pulling and pushing of paint using found objects such as plastic clothes tags. The control she gains from using smaller tools over paint brushes is a closeness between artist and painting which mimics that of process art, building layers not as a painting per se but as a two-dimensional sculpture.

The expansiveness of Sudbina's expressionistic canvases is contrasted with the intimacy of minute details, subtle changes in tone and intricate painterly brushwork with sharp ink lines painted quickly, directly and with conviction. Technically fluent, her complex and beautiful multimedia paintings have an enigmatic quality, titillating the imagination and speaking to the subconscious.

Sudbina's paintings are sold internationally and can be found in private collections of the likes of Suzanne Brenner (The Metropolitan Museum of Art, New York), Brigitte Stepputtis (Global Head of Couture at Vivienne Westwood) and Vincent Fang (multi-Golden Melody Award-nominated lyricist).