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Annabel Dover

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'One Day For A Year,' A room of 365 paintings
My work is concerned with trace and nostalgia. The link between memory, object and the owner (and between past and present).'As in an album of photographs or a collection of antiquarian relics, the past is constructed from a set of presently existing pieces. There is no continuous identity between these objects and their referents. Only the act of memory constitutes their resemblance. And it is in the gap between resemblance and identity that nostalgic desire arises. The nostalgic is enamoured of the distance, not of the referent itself. Nostalgia cannot be sustained without loss.' (Susan Stewart)
Christening Gown
Christening Gown
By regulating the paintings by time I am reminding myself how unregulatable time and memories are. Humans constantly impose a narrative onto the nonsensical string of their memories. In some way I too offer the viewer the chance to create stories out of the different combinations of painting to make sense of these disparate images. I want the paintings to look frozen, as though I have captured them in an inventory/museum of different artefacts from different situations grouped together in an attempt to document a person's memories. The paintings are mostly in oils on identically sized (6" x 6") gesso tiles. The tiles will be placed next to one another forming a pattern when put on the wall. I have in the past taken photographs of houses prior to clearance, and I would like the paintings when grouped together to look like the walls of an empty house, breathing out aspects of the owner's life.
Graceland at Christmas
Graceland at Christmas
'One Day For A year' - detail
Maggie Taylors House
Maggie Taylors House
inventory/museum of different artefacts from different situations grouped together in an attempt to document a person's memories. The paintings are mostly in oils on identically sized (6" x 6") gesso tiles. The tiles will be placed next to one another forming a pattern when put on the wall. I have in the past taken photographs of houses prior to clearance, and I would like the paintings when grouped together to look like the walls of an empty house, breathing out aspects of the owner's life.Photographs are a significant part of my work, both painting from found photographs of unknown things and people and taking photographs of the interior objects in people's houses. These interiors include the modernist architect Erno Goldfinger, Oleg Meshko a 72 year old Russian emigre and Vietnam veteran, and Maggie Taylor an elderly blind woman for whom I used to housekeep. Although Maggie is blind, her things are still important to her because she has memories of what they are and the associated memories of where they come from; knowing that they still exist is comforting to her. These objects can almost cheat time, they are proof that events and people that no longer exist really did once.
'We may think we are going to them [objects] for knowledge about the past, but it is the knowledge we bring to them which makes them historically significant, transforming a more or less chance residue into a precious icon.' (Raphael Samuel)
Ballon de Gonese
Ballon de Gonese
Clutter links us with other people's lives as well as the early stages of our own life. Sometimes we are more aware of the significance of something after it has gone. Often people hold onto a specific part of their lives, sometimes a part they might have found too overwhelming at the time to even feel part of. For exhibition details please use the links below.
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M: 44 (0) 7967 272 302




Web Links
Transition Gallery
Rosy Wilde Gallery
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