Melbourne-based Anna Finlayson is best known for her site-specific installations as well as wall and floor based sculptural forms and assemblages, which often utilise pre-existing and mass-produced objects such as plastic balls or electrical cables. However, her work has consistently derived from an expanded drawing practice, and her obsessively rendered drawings over the past ten years have constituted an ongoing series of investigations into the subjectification of the grid through the creation of a narrative of process. Dates and times are recorded at the commencement of a work, grids are calculated and ruled, calculations defining the parameters of the drawing are noted, coordinates are documented, lines are numbered and space is counted. The notation and recording of the practice creates layers of data and information that not only create the works, but also give the viewer proof and evidence of the process of making – and the presence of the maker. All of this information manifests as both part of the visual language of the drawing and an essential aesthetic component of its composition.
ANNA FINLAYSON has presented solo exhibitions at The Substation, (2013); Sarah Scout, (2013, 2009); Linden Centre for Contemporary Arts, (2007); Mir 11, (2004); Gertrude Contemporary Art Spaces, (2004); Canberra Contemporary Art Space, (2003); Conical, (2002); 1st Floor Artists and Writers Space, (2001) among others. She has participated in numerous group exhibitions, including Drawing Folio 2, Block Projects, Melbourne, (2012); Composition, Conical, (2010); Plastic Theory, Peleton Gallery, Sydney, (2008) and I heard it through the grapevine, Heide Museum of Modern Art, (2003). Between 2007 and 2009, she undertook an extended residency at the CAMAC Art Centre in France. Anna Finlayson has completed degrees in Painting (VCA) and Textile Design (RMIT), and in 2001 completed a Master of Fine Art at the VCA, University of Melbourne, where she is currently undertaking a PhD.