American, b. 1960
Anne Patterson is a multi-disciplinary artist based in New York City. Her body of work consists of paintings, sculptures and large-scale multimedia installations that combine sculpture, architecture, lighting, video, music and scent. - Read full bio.
American, b. 1960
Anne Patterson is a multi-disciplinary artist based in New York City. Her body of work consists of paintings, sculptures and large-scale multimedia installations that combine sculpture, architecture, lighting, video, music and scent.
Anne’s large-scale installations have filled cathedrals, office buildings, and galleries across the country with miles of fabric, aluminum ribbon, and metal birds. She created Graced With Light, an installation inspired by music, as the 2013 Artist-in-Residence at Grace Cathedral in San Francisco. Twenty miles of ribbon interacted with the cathedral's vaulted ceiling arches, carrying visitors’ prayers, dreams, and wishes skyward. Immensely popular, Graced With Light was extended four times and on display for almost two years. The work was also an Instagram hit, garnering over half a million “likes”. Permanently installed in 125 High St in Boston in 2015, The Light Between fills the 10-story atrium with multi-colored, reflective aluminum wire. In 2016 her synesthetic, interactive installation Pathless Woods was experienced by over 300,000 visitors at The Ringling Museum in Sarasota, FL. In May of 2017 her installation Murmuration was unveiled to celebrate the 200th anniversary of Christ Church Cathedral in Cincinnati. Anne’s installation Another Sky, also created in 2017, filled the Waterfall Atrium in The Venetian Las Vegas with 32 miles of cascading blue ribbon.
Anne’s theatrical and symphonic partnerships have included major venues across the United States: Lincoln Center, Brooklyn Academy of Music, Arena Stage, The Wilma Theater, The Kennedy Center, Alliance Theater and prestigious symphonies throughout the country (San Francisco, Atlanta, Philadelphia, Chicago, Seattle). Anne’s fine art has been exhibited in New York City; Providence, RI; Atlanta, GA; Sarasota, FL and Seville, Spain. Her paintings and sculptures are in private, public, and corporate collections across the USA (Tishman Speyer, Tribune Media, Nortek, New York Presbyterian Hospital, Memorial Sloan Kettering Hospital, Rhode Island Blue Cross) and in London.
Patterson received the 2016 CODAaward Winner for Liturgical Art, and was awarded a Creative Capital Grant from the Warhol Foundation. She is a fellow of the Hermitage Artist’s Retreat, and has been a visiting professor at Carnegie Mellon University. Education - B.A. Architecture, Yale University M.F.A., Theater Design, The Slade School of Art, London UK.
My work is inspired by the concept of multiplicity, and my fascination with the connection between parts and their whole. What happens when you start with one simple material or shape and multiply it? Why is the whole so much greater than the sum of its parts? What is the space between the parts and how does that space contribute to the whole of the piece? How are these concepts of one and many a metaphor for individuals and communities in our society?
My art explores the answers to these questions by utilizing one material in great multiplicity – 200 strands of piano wire, 1,000 metal mesh birds, 7 miles of aluminum wire strands, or 34 miles of satin ribbon – to create awe-inspiring, multisensory, and immersive works. I am interested in how using one shape, material, or form over and over again can create something larger than the sum of its parts – something great and overwhelming in its scale and beauty. As such, my artworks aim to be a metaphor for the transformational power of group dynamics. As individuals come together, person by person, organism by organism, connections are forged, and magic happens between the art and the viewer. As these profound connections amass, they together take on qualities that transcend those of the parts, resulting in powerful visual and kinetic effects that amaze, astonish, and uplift.
As a synesthete (when I hear sound I see color and shape) my goal is to create an experience where my viewers’ senses can overlap, producing a constructed synesthesia. I bring the skills I have learned from my years as a theater designer – manipulating light, projected imagery, music, and even scent - and my artist's sense of the color, light, shadow and movement to transport visitors to a multi-sensory realm. I aim to create immersive experiences so that a visitor "sees" newly, into the spaces between materials, the places where one sense suggests another. I want the viewer to become so immersed in the piece as to become integral to it, seeing the light reflecting off the materials onto her skin, feeling the silkiness of the ribbons on her arms, experiencing sensations of flight and movement, and completing the piece because she has joined it.
The belief that the viewer is an integral contributing element of my artwork is one way in which I try to engage the relation between parts and the whole. The other way is through actively including the community in a work's creation. From my very first public artwork at Grace Cathedral in San Francisco, to my most recent projects in Florida, community involvement has enriched my work. My experience is that people love to be a part of the process, and that community ownership is especially important when creating art for a public space. I have had groups of up to 70 volunteers working with me on public art installations – the work becomes like a sewing circle where people of different ages and backgrounds come together to share the experience of creating artwork, ultimately contributing to a lasting source of community pride and connection to the work itself.
I truly believe it is possible, through these multiple interconnecting parts, to create work that is so beautifully immersive that we disconnect from everything except for what is in front of our eyes and hands. The experience of art makes us whole. In these moments of disconnection, we connect back to our true essence, the place of peace and joy within us, thereby making something larger than ourselves. As the great writer, John Steinbeck once said: “The fascinating thing to me is the way the group has a soul, a drive, an intent, an end, a method, a reaction, a set of tropisms which in no way resembles the same thing possessed by [those}who make up the group. These groups have always been considered as individuals multiplied. And they are not so. They are beings in themselves, entities.
STUDIO CREATIVE MANAGER
Kathleen Choe was born and raised in New York. She managed studios for TONY award winner Donyale Werle and TONY multi-nominee Anna Louizos before moving into the world of fine art. As a working actor and an avid art lover, she enjoys working with Anne Patterson and being a part of the creation of the installations and sculptures.
Kina was born and raised in Korea. She started her career designing sets for multiple theater productions, and has worked as assistant designer in many design studios in New York. One of her designs was "Mentor Projector" at Cherry Lane Theatre, winner of a 2008 Obie Award. Kina has expanded her career to fashion, landscape architect, music and installation art. She has worked with Anne Patterson since 2011, beginning with Patterson’s first large scale installation Graced With Light.
Maja-Lisa Flodin-Ali, originally from Brooklyn, New York, is a recent graduate of the School of the Art Institute of Chicago. As an installation artist, Maja-Lisa blends her strong sense of pattern and color with an interest in exploring identity. Maja-Lisa works with different aspects of her identity such as managing a mental illness and navigating her bi-cultural Pakastani and Swedish heritage. All her work is rooted in personal narrative and these colorful narratives take final form as both installations and large inkjet photographs. The large inkjet prints show her body, painted and inserted into her own installations. Maja-Lisa is currently experimenting with showing her photographs alongside and within her installations. While based in Chicago, Maja-Lisa travels back and forth to New York City, working for and with other installation artist and photographers.
Daniel Harrington is an artist living and working in Brooklyn, NY and has worked together with Anne for several years on projects across the United States. He has worked in a wide variety of media; he specializes in verre églomisé, a rarefied technique of gilding and painting on glass. Daniel has also collaborated with artists, musicians, dancers and fashion designers on a broad array of projects and performances. He is a graduate of the Cooper Union School of Art.
|1982||BA in Architecture, Yale University, New Haven, CT|
|1988||MA in Theater Design, Slade School of Art, London, UK|
|2020||The Ribbon Inequality Project, St. John the Divine, New York, NY|
|2017||Circle of Thirds, Community Foundation of Sarasota, Sarasota, FL|
|2017||Another Sky, The Venetian Las Vegas, Las Vegas, NV|
|2017||Murmurations, Christ Church Cathedral, Cincinnati, OH|
|2016||Pathless Woods, The Ringling Museum of Art, Sarasota, FL|
|2015||The Light Between, Tishman Speyer at 125 High St., Boston, MA|
|2013||Graced With Light, Grace Cathedral, San Francisco, CA|
|Selected Solo Exhibitions|
|2016||Pathless Woods, The Ringling Museum of Art, Sarasota, FL|
|2016||Aridesence, Alfstad & Contemporary, Sarasota, FL|
|2012||The Sound of Nature, The Shaw Room, Atlanta, GA|
|2008||Over, In and Under, The Marmara Gallery, New York, NY|
|Selected Group Exhibitions|
|2019||Sense Me, Trapholt Museum of Art and Design, Kolding, Denmark|
|2019||Encounters I, Cristina Grajales Gallery, New York, NY|
|2017||The Sun Has Burst the Sky, Scope Art Fair, Alfstad & Contemporary, Art Basel, Miami, FL|
|2017||Aqua Art Miami, Art Basel, Miami, FL|
|2017||SYNAESTHESIA: What is the taste of the color blue?, Building Bridges Art Exchange, Los Angeles, CA|
|2014||Gold, Valerie Dillon Gallery, New York, NY|
|2014||Process, Denise Bibro Gallery, New York, NY|
|2013||Inspiration Echoed, One Twelve Gallery, Atlanta, GA|
|2010||Elements of Nature, Cade Tompkins Projects, Providence, RI|
|2017||L'enfant et les sortilèges, Ravel, Seattle Symphony, Seattle, WA|
|2016||Mysterium Novum, The Nouveau Classical Project, White Box, New York, NY|
|2013||State of Grace, Paul Haas, Grace Cathedral, San Francisco, CA|
|2013||Sight and Sound, Bard Music Festival, Fisher Center, Bard College, NY|
|2013||Seeing the Voice, Joshua Roman, Grace Cathedral, San Francisco, CA|
|2008-2013||Mercury Soul, San Francisco Symphony, Chicago Symphony Orchestra, New World Symphony, Pittsburgh Symphony Orchestra|
|2012||Gran Partita and Bagatelles, Mozart and Ligeti, Orchestra of St. Luke’s, Baryshnikov Arts Center, New York, NY|
|2012||Le Martyre de St. Sebastien, Debussy, San Francisco Symphony, San Francisco, CA|
|2007-2012||St. Matthew Passion and St. John Passion, Bach; The Creation, Haydn; 3rd Symphony, Gorecki and 3rd Symphony, Brahms, Atlanta Symphony Orchestra, Atlanta, GA|
|2002||Every Good Boy Deserves Favor, Previn/Stoppard, Philadelphia Orchestra, Philadelphia, PA|
|1998-2001||Brooklyn Philharmonic Orchestra, Brooklyn Academy of Music, Brooklyn NY Productions include: Nixon in China, Glass’ Symphony No. 5, Strings of War, Afterhours, 1899|
|Theater and Opera Productions|
|2018||Native Guard, Alliance Theater, Atlanta, GA (Installation & Set Design)|
|2017||Cross That River, 59E59 Street Theater, New York, NY (Set & Costume Design)|
|2013||The Degas Project, The Frick Collection, New York, NY (Direction & Design)|
|2006-2010||Cabaret, Women of Brewster Place, and Light in the Piazza, Arena Stage, Washington, DC (Set Design)|
|1991-2009||Sondheim’s Passion, Fugard’s Coming Home, Raffo’s 9 Parts of Desire, Jesus Hopped the A Train, Loot, Oedipus Rex, and 3 Poets, The Wilma Theater, Philadelphia, PA (Set & Costume Design)|
|1993-2006||Carmen, Don Giovanni, La Boheme, La Traviata, Lucia, Powder Her Face, Albert Herring, Barber of Seville, Belladonna, Giasone, Madame Butterfly, and Rake’s Progress, Aspen Music Festival, Aspen, CO (Set & Costume Design)|
|2003||Cosi La Tutte, Brooklyn Academy of Music, Brooklyn, NY (Set & Costume Design)|
|1998||Powder Her Face, Brooklyn Academy of Music, Brooklyn, NY (Set & Costume Design)|
|2010||Houdini: Art and Magic, The Jewish Museum, New York, NY|
|Film Production Design|
|1992||Buying a Landslide, BBC Films|
|1990||Havel’s Largo Desolato, PBS|
|1989||In Motion with Michael Moschen, PBS|
|2016||CODAawards Winner, Graced With Light|
|2013||Artist-in-Residence, Grace Cathedral, San Francisco, CA|
|2013||Visiting Artist, Carnegie Mellon University, Pittsburgh, PA|
|2013||Gold Stevie Award for Female Entrepreneur of the Year|
|2011-present||Invited Fellow of Hermitage Artist’s Retreat, Englewood, FL|
|2007||Creative Capital Award|
|Memorial Sloan Kettering, New York, NY|
|New York Presbyterian Hospital, New York, NY|
|Rhode Island Blue Cross, Providence, RI|
|Tishman-Speyer, Boston, MA|
|Tribune Media, New York, NY|
|2017||Reed, Moon C. “Transcendence at The Venetian.” Las Vegas Weekly (June 13, 2017)|
|Jones, Jay. “Check Out Vegas’ Remarkable Public Art, From Popeye to a Winged Jackelope.” Los Angeles Times (June 20, 2017)|
|Sharp, Sarah Rose. “A Stroll Through a Forest of Ribbons That Stimulates Synesthesia.” Hyperallergic (March 30, 2017)|
|Fabrikant, Geraldine. “On College Campuses, a New Role for Students: Museum Curator.” The New York Times (March 15, 2017)|
|2016||Fugate, Marty. “Anne Opens the Doors of Perception in Two Powerful Exhibits.” Sarasota Herald-Tribune (December 1, 2016)|
|Bennett, Lennie. “Anne Patterson’s Immersive Installation at Ringling a Walk Through a Ribbon Forest.” Tampa Bay Times (November 16, 2016)|
|2015||Carlson, Erin. “Anne Patterson’s Large Scale Installation at 125 High Street.” The Boston Globe (February 19, 2015)|
|Meyer, Jack. “The Lightness of Being Anne Patterson.” The Huffington Post (June 26, 2015)|
|2014||Le, Anh-Minh. “’Graced With Light’ Art Installation Has 20 Miles of Ribbons.” The San Francisco Chronicle (June 24, 2014)|
|Dunne, Carey. “Synesthetic Artist Suspends 20 Miles of Ribbon Inside Grace Cathedral.” Fast Company (January 10, 2014)|