For a more serious artist statement and an overview please scroll down.
But for something a little more personal, here is me in a nutshell:
I am a full-time artist and a full-time mom to the sweetest 5-year-old. West London was my home for a decade. Queens Park and Portobello road will always hold a special place in my heart. I’m drawn to the buzz and abundance of the markets. I don’t do minimalism, I love beautiful things too much. A little pretty in practical makes my heart rise and turns routine into ritual. My husband says I am a coffee snob. I dance when I love the music. I am a terrible cleaner. I love the smell of basil and wild strawberries. I am intrigued by language and psychology. Nature makes me happy. I change my mind a lot. I paint.
I have been painting all my life and, like most artists I know, my path to a professional art career was not a straight line. I studied under a wonderful painter Maria Burganova as a kid. Her bohemian studio with wooden floors covered in paint, filled with art, sculpture and still-life vignettes cemented my love for painting. But my first degree was in Linguistics and International Communications. I then studied design at Central St Martins. I spent 10 years working in the interior design industry as a project manager surrounded by the most beautiful natural materials and crème de la crème of contemporary design. I enjoyed it and yet I felt emotionally unwell without a creative output of my own. I painted in the evenings and weekends slowly honing my skills, developing my practice, and reframing my ideas about a career as an artist. (Does having a ‘proper job’ sound familiar?) I made all the mistakes starting out you can think of but I also couldn’t stop painting. I now have my work on the walls in countries I am just dreaming to visit, CFO of Met Museum commissioned me to do a painting for their home, I am exhibiting regularly alongside some brilliant artists and I make a living doing what I couldn't live without. I learned that you can carve a space for yourself in a strange and beautiful art world if you are consistent and persistent.
The never-ending search for beauty, love and balance on canvas is my tiny contribution to making this world nicer. Everything is connected. The material world and the spiritual one are entwined, tightly woven together into a wonderful tapestry of our existence. The purpose of art is very simple really - it is to feed the spirit.
Thank you for your support.
includes words by Eleanor Stephenson, Courtauld Gallery
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, a physical space and a memory of it. Layer by layer, 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 of contemporary life seen through the prism of her artistic vision.
Born in Moscow in 1984, Anna came of age in the post-Soviet Russia where apart from academic drawing and painting she studied linguistics, philosophy, and psychology.
Sudbina embarks on her artistic practice with three main stages in mind, for the first layer she considers a traditional figurative representation of reality, to set the colour scheme and composition, providing a context which she refers to as the Ego. Occasionally she begins with pure abstraction starting from the gestural base, allowing the canvas to guide her into discovering the composition. The second layer is Sudbina’s Id, an intuitive state of concentration in which her raw, gestural mark making is dictated by her subconscious. The third stage, the SuperEgo, is about finding compositional balance through non-action and negative action, standing back to analyse and then jumping forward to undo, scrape or cover up parts of the painting.
In essence, Sudbina’s point of departure is a debate between choice and chance. Her hands choose to control her chosen mediums, acrylic and ink using small found objects, a process which is juxtaposed by the chance involved in gestural mark making, such as the independent behaviour of materials, a splash of ink or the unpredictability of mixing colour. In building a composition, Sudbina finds herself in a meditative state, guided by her subconscious thoughts, memories and experiences, each painting becoming its own spiritual journey.
For several years, Sudbina’s 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 places. To achieve this, Sudbina has adapted new and innovative ways of painting, a process which involves a 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. Once again, we are reminded of Sudbina’s interest in architecture, space and three-dimensional form, particularly in her figurative series Tangible Abstractions.
The expansiveness of Sudbina’s expressionistic canvases are 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).
Abstract Perceptionism or Speculative Realism.
My art is a reflection of how we experience reality, shaped by memory, perception, and emotion. I seek to capture the essence of human experience through the use of abstraction, rather than a focus on physical likeness or details. Rooted in the figurative representation of reality, my paintings are distorted by layers of ink and paint that superimpose memories over the brushstrokes. I am drawn to abstract forms and meaning, yet recognisable shapes and silhouettes often remain visible. Like fragments of memory that can be both vague and detailed, they create a space for the viewer to engage with the work in a more subjective and personal way, to speculate and find their own meaning within the artwork, as they bring their own life experiences and perspectives to the interpretation. This interactive dialogue between the viewer and my work is key. It creates a dynamic and constantly evolving relationship, which enriches both the art and the viewer's experience of it. It is a meditation on the mysteries of the human condition, inviting viewers to contemplate and connect with their own inner worlds.
I don’t know where the painting is going when I start. The process is just as important as the result. Using a brush makes me focus on figurative detail too much, so I use unconventional tools (shower squeegees, recycled clothing tags and small found objects) instead to introduce an element of chance into the painting process that disrupts the figurative detail and opens up space for the viewer to connect with the work in a more empathetic way.
I don't paint from memory, but from the loss of it, and the abstraction of the image allows me to relive some of those moments in a different way. My paintings are a call for raw emotion, alluding to fleeting moments that are precious and dear to me. If my work can evoke similar feelings in someone else, then I am happy.
My creative process is fuelled by positive energy. I surround myself with beautiful objects and cultivate good vibes in my studio. I believe that the canvas captures the energy of the artist, and so it is my responsibility to filter what I let out into the world together with my work.
My art practice is informed by the philosophy of Jacques Derrida, particularly his ideas about deconstruction and the role of memory in shaping our perception of reality. Just as he deconstructs language to reveal its hidden meanings and assumptions, I deconstruct reality through layers of abstraction to reveal the emotions and memories that underlie our experiences. I aim to challenge traditional notions of representation and meaning and invite viewers to engage with their own perceptions and emotions in new ways and see the work through the prism of their life experiences, in line with Derrida's notion that meaning is always contingent on context and interpretation.
In my Abstract Portraits series, I explore the poetry and universality of human experience. It is not about the physical likeness but about the essence of a human aspect. This abstraction of the portrait allows each viewer to speculate, and feel the work following their emotional intelligence.
My Interior Of The Mind series explores the relationship between memory and perception, as well as the impermanence of our experiences. Using a base of geometric shapes, right angles, and perspective, I create an architectural structure that represents the stability of memory. However, the details start disappearing layer by layer, like time chipping away at the memories, and 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. This process evokes hazy recollections of past memories, blurring the line between the familiar and the unknown, and invites the viewer to engage with their own memories and the process of remembering.
By drawing on Derrida's ideas about deconstruction and the role of memory in shaping our perception of reality, my work delves into the depths of the human psyche, exploring universal themes of belonging, spirituality, perception, and philosophy. I hope to create works that are not only aesthetically engaging but also thought-provoking and emotionally resonant.
PUBLICATIONS & AWARDS
2023 Nov 25/ VOW The Voice Of A Woman festival / The Royal Exchange / London
2023 October / The Other Art Fair
2023 August / Embracing Ai / Guelman und Unbekannt gallery / Berlin
2023 29Jun-9Jul / Espacio Gallery / London
2023 13-14 May / Kingswood Art Center, Dulwich Artists Open House / London
2023 April / Artdom / Grand Hotel Oslo
2023 March / Adria Hotel South Kensington / London
2023 March / The Other Art Fair / London
2023 Feb / Artdom / Soho House Mumbai
2022 October / The Other Art Fair / London
2022 / The Summer Exhibition / Drifter Galleries / Queens Park / London
2022 / Drifter Residency / London
2022 / Dulwich Artist's Open house festival / London
2022 / Artitude fair / London
2020 / Private Collection / Morrison & Foerster / The Scalpel / London
2019 / SWA / The Mall Galleries / London UK
2018 / Present Perfect Continuous / Zverev Centre Of Contemporary Art / Moscow Russia
2017 / National Youth Arts Trust Auction hosted by Grayson Perry / Vitra / London
2017 Jul / FLUX Exhibition at The Chelsea College of Art
2016-2017 / Resident artist at By Other Means gallery
2016 / Forgetting II, By Other Means gallery / London
2016 - Forgetting I, By Other Means gallery / London
2015 / Reserve, 46 Gresham Street, The City of London
2012 / Eastern Satellite and Unaligned, East 2 gallery, Vyner Street / London
2011 / Creativi-Tea, Haymarket Hotel, 1 Suffolk Place, London SW1
2011 / ATOM rooms, 328 Portobello Road, W10 5RU / London
2010 / Hands On, Arts gallery, UAL, 272 High Holborn, WC1V 7EY / London
2008 / XYZ: An ABC of Space, Lethaby Gallery, Southampton Row
2008 / Contemporary Art Exhibition ¨Let Them Eat Cake¨, London W11 3SL
2008 / Lyon & Turnbull: Contemporary Art and Design, 1 Marylebone Rd, Westminster, London NW
SHEERLUXE - 100 Individuals who have inspired us in 2023
VOGUE India - How Artdom encourages artists to paint across geographical and psychological boundaries 2023
Art Plugged - FEMALE ARTISTS NOT TO MISS AT THE OTHER ART FAIR LONDON 2023
Mint Lounge - Collaborative art project focuses on women’s rights in India and UK
Ebony And Co Talks - In Person:
Artist, Anna Sudbina / 2022
The Warriors Within Collective - Searching for beauty and equality- by Anna Sudbina / 2022
On In London - Immersive Sky Art Installation
Rise Art - 6 Questions With Anna Sudbina / 2018
ARTIT Award winner, issue No5 / 2018
NYAT - Ready Set Bid, an overview of an Auction where my work was exhibited alongside Dali, Picasso, Miro, Chagall and Renoir hosted by Grayson Perry / 2017
Inside Artist Magazine - Flux / 2017
Style & Snitch Flux Exhibition review highlighting Anna Sudbina / 2017
A Limitless World STATES OF FLUX : MEET RUSSIAN ARTIST ANNA SUDBINA / 2016
Hedonist Magazine Fractions, interview with Anna Sudbina / 2014
Vogue UK, High Plains Drifter by Mario Testino, work featured in photo shoot / 2012