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More about Anna Nielsen

This extract is taken from my first book - From "Life" to the "Big Picture" and beyond

and explains how her unique Style developed and how important the Words are..........

Introduction
This is a book about the words which go with my drawings. The tenth anniversary of my first drawing using the silhouette people has just passed: August 6, 1992. Fiona McCarron, who bought the drawing all those years ago, now has it hanging in her downstairs guest bathroom! At a dinner party in her home recently I noticed the date and I thought now would be the ideal time to write this book.

Background

If I were to do a drawing about my life at the time I drew my first pen and ink drawing, the words would probably begin like this:-

....................It was the late sixties
I was fifteen
The 46A was my bus
Somebody wrote a song about It and yes, It was that great!
I went to school in the Dominican Convent in Dunlaoire
It is now a Shopping Centre and a multistory Car Park ..................

It was a very exciting time to be young, school was fun and I had a wonderful art teacher with lots of free time since I was exempt from Irish and religion classes because I was Danish. I spent a lot of time in the art room. She was an excellent teacher and taught all kinds of art including still life and pencil sketching using live models (fellow students). I also learned to draw with a quill pen dipped in an inkwell. During my final year at the convent I read “The Hobbit” and “Lord of the rings” and as a result made my first pen and ink drawing - Using a quill and inkwell

I went on to Bolton Street College of Technology and while there, I learned to use the draughting pens I now use for my drawings and I have a Diploma in Architectural Technology. I worked in architectural offices for seven years specialising in large scale housing developments. I married, moved to Wicklow and we have three children Leo, Karl and Sophie. My creativity developed in many different directions before settling on pen and ink drawings.
It was during this time however, when the children were small, that I began to draw a lot for relaxation. Pen and ink mixed very well with small babies. All you need is a piece of paper and a pen - you can draw for an hour - change a nappy - draw a bit more - feed the baby - very relaxing..........
I also taught sewing and crafts, privately and for the VEC. Spent three years turning the field where we built our house into a self maintaining garden. I learned upholstering at night classes and revamped old furniture in fabrics and in leather. One year I made foam filled furniture for holiday homes, later I designed and marketed a range of children’s wear. I made puppets for a TV programme and adult size costumes for Hopkins toy shop.
I worked several years with all kinds of leather, making handbags, luggage, a wide variety of suits, jackets, skirts and accessories including a very unusual leather suit in shades of brown for Jean Hopkins, which was made with knots tied in the leather. Huge quilted bed spreads in silks were made from left over wedding dress fabric and I even made a christening dress from one of the wedding dresses I had made earlier. I made quilted and appliquéd wall-hangings both in fabric and in leather. But mainly I designed and made ladies clothes: Anne Lait’s strap suit was featured in “It’ magazine. I had great fun making unusual debutantes dresses, girls that age have great imaginations! Michelle Coffey’s off the shoulder cream silk and black lace gown was spectacular.
I specialised in making unique wedding dresses: Michelle Pippet’s wedding dress had 12,700 individual beads holding it together and stitched all over it, the headdress, combs and veil, it even had a special series of loops which allowed the enormous bead covered train to be folded up into a bustle and short train suitable for dancing!
I staged a number of fashion shows featuring the clothes I made in Blainroe Golf Club and local hotels. Recently I looked at the video of the fashion show the WCS ladies, Bridie Cardiff and I staged in December 1991 for charity, where all the ladies modelled clothes, I had made for them mainly wedding and debs dresses and friends bravely modelled some outrageous outfits I made for the occasion!
We did have a lot of fun but eventually I found that working to other peoples requirements was too restricting. I began to concentrate more and more on drawings because in my drawings I found total freedom.
I used to keep my drawings in a folder and the only people who ever got to hear the words were those who asked. It was Michelle Morrison who was responsible for suggesting an exhibition.
In 1994, Renaissance III Gallery, County Buildings, Wicklow, staged the exhibition for me and it was a success! -
I was an artist.
I received a “Feasibility Study Grant” also from Wicklow County Council and set out to determine if I could make a living out of being an artist? I decided that the best way would be to make limited edition prints from my drawings. In that way I could keep the original, I would have to draw all time because limited editions can never be reprinted so when the prints ran out, I would have to draw another! The edition size is decided when it is printed and is written as a number on each print, usually in the bottom right corner with the signature. I used some grant money to get six large and four small drawings printed up on beautiful character laid,recycled board and tried to get them accepted into a gallery. ‘Life’, ‘Freedom’ and ‘Relationships’ were limited and ‘Grey Lady’ also printed in black gloss became an open edition print - Open edition means that the image may be reprinted as many times as you like, in any size or shape or on any paper.
But it was not that simple, I had not been to Art College, I had learned to draw in a technical college, so I had no contacts in the “Art world”. I was never taught to produce my prints from metal plates as etchings, so what and how I drew did not comply with acceptable “Art world” standards, nor did I use either oils or watercolours, so therefore I was not acceptable in commercial art galleries. One gallery owner actually laughed at me over the telephone when I asked her to look at them. All but one refused: ‘Green on Red’ was the only exception. Jerome Odrisceiol took the time to look at my drawings, in the boot of my car, (he was on his way out of the office), he told me they were good and that I should look for other outlets and not give up!
Lesson number one:- Pen and ink drawings or prints by unknown artists were not acceptable in Dublin Art Galleries!
Never daunted I looked for new avenues. I added greeting cards and postcards to the prints I already had, called it ‘A Range’ and tried a series of framing galleries, these are shops which sell original paintings and prints and also make frames. I bypassed the telephone, instead calling in person at each gallery, waiting patiently for the owner or he or she who made decisions, sometimes having to call back later - but - Success on day one! “Framwork by John” in Dunlaoire took them on sale or return!! Success on day two! Eoin McElligott working in a framing shop in Stilorgan, which shall remain nameless, did the same! I was on my way. I also met a lot of very nice people who gave me both advice and encouragement.
Lesson number two:- ‘ Listen to those who have been there, done that’
Among the advice I was given were: Become a member of the Crafts Council of Ireland, become a registered artist and take a stand at Showcase 1994, the main craft fair in Ireland held in the RDS. I did all three and was successful at Showcase immediately although my stand was in an annexe, off an annexe, through a corridor, past the toilets! I met Killian Halpin, Ann Marie Rogan and Gerry Crosbie and made my first sale to “Whichcraft Gallery” a top quality craft gallery in Dublin!
The first order was followed within a week by more and since then my work has been accepted in up-market craft shops all over Ireland.
Lesson number three:- If at first you don’t succeed ...................................................
So if you take - One charismatic Art teacher, ‘The Hobbit’, Architectural Technology at Bolton Street, add one husband, three children, a lot of fun and luck, add some twenty odd years of working for a living - and finally an irresistible urge to create......
Then the above are just the ingredients for what follows............................

The Power of Images AND Words
The beauty of a pen and ink drawing to me is it’s basic simplicity. Everything is either black or it is white. The fascination of drawing with pen and ink are the endless possibilities. With the exception of colour which it is possible to suggest but not to define, there are no limits other than ones imagination restricting what to draw next.....................
What I draw are feelings and emotions. A constant with human beings is that we go through the same emotions, irrespective of our colour, creed, economic status or geographic location.
In my drawings I use stylised silhouette people - with body language and anyone, who has been in the same situation as that body or felt the emotion suggested by it, should be able to relate to it.
My very simplistic perceptions of everyday life today enable the viewer to recognise themselves or their situation in my images. If words are added then there is no emotion or feeling one can not evoke. Some images need lots of words, others only one.
Love, hate, disappointment, surprise, loneliness, happiness or fear, the odd thing is that we sometimes believe that we are the only ones to feel love so deeply, loneliness so intensely or despair so completely. We feel that nobody could possibly ever have felt a feeling quite like the one we feel now. When we realise our folly it can often be both a relief and sometimes even give new hope.
The bodies are used to tell stories, sometimes just a sentence, sometimes a short story, sometimes an epic but the real power lies in the combination of Images AND Words.
By adding simple words to images they can become very powerful. Imagine a man standing on the edge of a cliff! - If that drawing were titled ‘Sunset’ it conjures up images from the viewers memory of beautiful sunsets and colourful skies - If however the title were: ‘Missing you’ The viewer is faced with quite different emotions. Titles and words allow me to suggest a specific line of thought, suggesting a situation and supplying the happy ending or at very least, hope. This is what I try to do with my drawings.
My process of creating an image always results in a drawing with words already attached. It can be either words first or idea first, but since I am drawing emotions using body language I have to develop a little story for each body before I draw them and all the bodies on the page interact so a larger story develops. Sometimes the words remain as they arrived, sometimes I edit them.
I did not always publish the words with the images, Eoin McElligott is responsible for that suggestion - and therefore without him there would be no book. I used to tell him the words as I was showing him a new drawing and he would say everybody should hear the words. Originally I hand wrote them, one strip at a time, then later I got them printed and now I always have them printed with the images.
Using words and images together in this way, it is easy to cater for and comment on, human conditions like for example ‘Curiosity’. Most people are naturally curious. Approaching this idea from two completely different angles:- In ‘The Apartment’ 1995 I allow curiosity free rein and throw open all the doors of an apartment block - Here the words are just confirming the type of occupant inside and what they are doing! Whereas in ‘The Crack’ 1999 the words are used to comment on one possible side effect of people being curious!
I see life as a series of drawings - Everyone around me - my family especially - influence what I draw. The last ten years of drawings and words reflect changes in circumstances both social and historic:- ‘Marriage’ 1994 or ‘The Human Race’ 1997 reflect society and ‘Freedom’ 1994 was drawn when the wall between east and west ( Berlin ) came down. Others are tongue in cheek like

‘Life’s too short to be boring’ 1996 , yet others are suggestions - ‘Variety is the spice of life’ 1999 or ‘Making up’ 2000 and quite a few are wishful thinking? ‘Peace on earth’ 1995, ‘If I only had time’ 1998’ or ‘Tranquillity’ 2001 and others are......................
You can now skip to the Image and Words pages................
Where you will find what this book is all about - Images and their words. The next few pages are just me, expanding on the paragraphs above. So if you have had enough please turn to page 12

If you and I were to meet and you were to ask me about my drawings, what follows is probably what you would hear - Did I mention I talk too much! I have too many ideas, for too many drawings all the time. The initial idea for a drawing can arrive as I am drawing it or it can be with me for days, months, sometimes years, before I have time to put it on paper - I really enjoy developing my drawings on many different levels and inspirationally why, the mechanics of what shape, technically how and even when my drawings arrive, is seldom simple:-

Inspirationally why

When I am asked how do you get the ideas for all this - It is impossible to answer - there is no pattern or recipe - my work evolves by way of my urge to draw adapting to current circumstances. Each new idea or new drawing could not have been born without the input of people around me and the restrictions of my situation. I have too many ideas all the time!
I do not like to tackle sad or desperate subjects. Instead I like to suggest hope. ‘Making up’ has the following words ‘.....do not leave it too long because the longer you leave it the harder it gets’ The pain of a father who wants to contact his estranged child is not visible, but a drawing as simple as this can have the power to make that connection! ‘Putting back the pieces’ refers to lives which are shattered by loss of any kind - but if you add the words:- ‘........With enough time and enough glue......’ Where Glue equals Love - then there is hope! In fact hope is probably the theme I use most in my effort to escape the reality of life today. When I do use a desperate image I always supply a happy ending, as I did in ‘The Apartment’ 1995, where there is a man on top of a large building on a ledge, I sit him down and even if he were driven to jump, I have placed cardboard boxes below to break his fall and save him! In ‘Life’ 1994, where innocent people get injured in the crossfire of War or suffer accident (represented by broken steps in the staircase ) I have given them a doctor and a nurse below, so that they may be saved, as they may sometimes in real life. I am an optimist - Quite like Mr. O. in ‘The Optimist and the Pessimist’ 1996 - and while I know the world is full of sadness and unhappiness, I also firmly believe that there is a lot more good in the world than bad and that goodness will always triumph. This is a theme which runs thru’ a lot of my drawings because sometimes it is enough just to know that it is so.
A few drawings like ‘Long distance’ cause people to contact me - to tell me of their personal story. I have had many personal letters from all over the world, telling me how this drawing has made them think of loved ones now gone - of separation, longing and loss and yet this drawing was inspired by my son Leo’s holiday romance! The power of words and images is very, very great and I like to use it to supply memories and hope.
With communications as they are today the whole world is open to all. One individual can reach people all over the world - Comments and requests arrive via letters, telephone calls, emails, shops, friends and I personally met a lot of diverse people at events like Showcase in the RDS in January

Showcase is one of my favourite weeks because it is the only time when I get feedback directly from a wide cross section of people: Some who do not like my work, some who do like my work, some who buy it as a present for another or for themselves, some who buy them to sell them or just people who work at the RDS - everyone from the security staff, maintenance, other stand owners, drivers, chefs and even the management! All have something to say! This was how my collaboration with Rob D’Eath developed and the Pottery Range was born!
Emails are a recent particularly rich vein of information - for example currently I am in conversation with Sophie from Phoenix, Arizona - a recent visitor to Ireland and Joe, who is a police detective sergeant in the States specialising in Crimes Against Children, a lady connected with the NHS in the UK and another with the following beautiful handle: - Luz Mar González Arias, Prof. Asociada, Depto. Filología Inglesa,Campus de Humanidades El Milán,Universidad de Oviedo, 33071 Oviedo, Asturias, Spain - who is asking to use one of my images; ‘Mná na hEiréann’ 1994, in an article she is publishing, by the way, did I mention that I have the best job ever and am the luckiest person I know. My image ‘Tara’ 1994 graces the cover of an Irish music cd in Tasmania, a section of the open edition ‘Golf’ 1994 is currently being used, without my permission, on a business card by a golf instructor! ‘Mná na hEiréann’ 1994 has been published with an article by the former president of Ireland, in a Canadian publication, it is also a book cover in Canada, the open edition ‘Maze’ 1994 has been published in an adult learning book, here in Ireland the list goes on....


Mechanics of what shape
First, before even starting a new drawing, I determine the overall look which would best suit the idea - it’s size, shape and style. Visualising the image framed. Every part of a drawing has meaning and purpose. To me the space left around an image is part of what I am trying to say - For example: ‘Will it be lonely’ 2002, is much more lonely because the body is placed in the bottom left hand corner of the print, the image is also set in the mountboard in the bottom left corner whereas with ‘The Human Race’ the image fills the paper almost to bursting, it’s mountboard is minimum width, suggesting a busy, bustling race! Others like: The Short Stories series, have no mountboard at all! Even the frame itself can be used to create different levels within a print series The implication of what goes on as the image disappears under the frame in ‘Against all odds’ 2000 where only half the tiger is visible or as in the ‘Series II Starsigns’ 2002, the body on the cusp is hidden behind the frame of individual starsigns, visible only when two or more star signs are framed together, in that the frame overlaps the image slightly, when there is no mountboard!!
Size and shape are not determined solely by imagination either, they are ultimately restricted by the practical limitations of reproduction and presentation. I.e. Printing and Framing. Framing is currently limited by the size and colour range of mount board - Printing by size and standard of printing press. P.S. David my framer can be seen on the 8th tee and John, my printer, on the 2nd tee of ‘Golf’ 2002 - In fact, John was instrumental in opening a new avenue of possibilities when he told me that his new printing machine could ‘bleed’ the image to the edge of the paper along three edges!!!! Result ‘Series II Starsigns’ 2002 I could now draw on two A2 sheets, butt them together because he could print the image right to the edge! My maximum size restriction became twice

what it was before and I can have black to the edge of the print without trimming! Unlike ‘The Party’ 1999 and ‘The Challenge’ 2001 where I lost about 12mm at the top and both sides just because I wanted to have a night sky, My problem is always that the printed page is never big enough!!. Size horizontally is now determined not by my printer but by my framer.
These restrictions are of course not all negative - John’s maximum print size a couple of years ago was only A3 - As a result ‘Success is what you make it’ 2000, is made up of three printed pieces, which all fit onto an A3 sheet, joined by mountboard and framed as a picture 820mm deep. The restrictions of my printer’s machinery was thereby directly responsible for the shape of one of my favourite prints. Likewise Colette Boland, at Showcase 1998, suggested that a short story size would make a very nice addition to the range - from a craft shop owner’s point of view - There are now 56 images in that series, it is a great size to draw for using my silhouettes - She was right.
I often wonder if there were no restrictions what shape would I draw next.........?


Technically how
The average adult body is 3cm tall - There are no thin people and no fat people. There is only one colour. A body has no clothes unless specifically required by the story line. When a person dies he or she becomes an outline, a memory, still there but in spirit only.

After ‘Life’ 1994 which was the first drawing to be printed I made a series of exploratory drawings to discover the limitations of the human body and my pens. ‘Mná na hEiréann’ 1994 is a map made up of female forms doing exercises, ‘Lips’ 1994 is a mouth of couples, Grey Lady tries out a larger scale and ‘The Four Seasons’ are trees, all four drawn entirely using only bodies, from babies to adults. ‘Maze’ 1994 however is special - I thought it would not be possible to depict straight lines using only bodies - or parallel lines or convex or concave right angles? Yet this small drawing, it’s size makes it even more difficult, manages all these - so as a vehicle for illustrating emotions, the human body has no technical limitations that I could find. I continued the development of the technique through the years and as the drawings are more or less in chronological order you can see the way the style has gradually changed.
The size of a first sketch can be anything. For example ‘Freedom’ was sketched full size almost complete, whereas ‘The Challenge’ was a tiny scribble about 75mm x 100mm and the first 8 ‘Jars’ were sketched on a single brown paper envelope! Which I still have.
Developing the idea is the next problem - deciding how to depict the components of what I am about to draw:- A good example of how I do it would be ‘Golf - The first 9’ 2002. I had to find a way of drawing nine golf holes, assuming that the average golf course is 7100 yards long, on paper 640mm x 420mm in size with no perspective! To depict 4 kinds of grass: Greens, Fairways, rough and deep rough, not to mention bunkers, shrubs, trees and water. In this case it took days and days just to define these by doing a series of sample drawings. Then research was required before inventing a golf course which has to have proportional holes - pars 3’s to par 4’s to par 5’s - as well

as calculated yardages which also had to total standards - Then the water had to traverse the course, form a lake and must flow downhill, as we all know water does - Then design the bridges, flags and signage - All I had to do then was depict a batch of recognisable golfers, scatter them over the course - evenly - add hundreds of spectators and I was ready for the next stage:- Making the actual drawing combining all these bits, to scale, correctly on one large sheet of butter paper - (like grease proof paper but thinner) This is then corrected with overlays where I make mistakes and usually ends up looking like a patchwork quilt (Remember if you make a mistake with pen and ink you have to start again - you can not rub anything out) All details have to be fully resolved - because no adjustments are possible from now on.
Then this pencil drawing on butter paper is traced over with .2mm rapidograph pen - Pencil is rubbed all over the back - sometimes in sections because it is very messy - The butter paper is then laid over the drawing paper and every line is traced over with a sharp pencil - Leaving a lead imprint on the drawing paper below. The entire drawing is then redrawn in pencil on the drawing paper, from those imprints. Next - and this is the bit I really enjoy - each and every line is then traced over with pen (.2mm), this has to be done very slowly - very carefully - with no mistakes - Only the small segment being worked on is exposed, the rest is protected by thick paper because if you touch the drawing paper with your hand, ink will not adhere properly to that area and also after it has been inked in, it must be protected from dirt - When you come almost to the end of a very complicated drawing, it is almost frightening because any mistake now, can loose weeks of work!
The pencil lines are then rubbed out and finally all bodies are blacked in (.35mm-.6mm) and all features are completed. Then all that is left are the words - Which when composed are hand written onto the drawing paper in pen - and this is very difficult - one tiny slip of the pen - one misspelling - one sneeze and you have to start again - It sometimes takes two or three attempts!
The drawing is then brought to Paul who makes a ‘film’ of it - which goes to the printer who first makes a plate and then prints the edition run - which has to dry for two days - then the print is trimmed and the words separated and I then check, title, sign and number them all.
Now you know why I make prints from my drawings, a large drawing takes anything from 4 weeks to 8 months (The Four Seasons) to complete - My ambition is to make a living out of drawing.


When my drawings arrive
Everyday life and everyday happenings are my source. Drawing, not only from my own perspective but also, from that of others. Coli O’Donoghue described me as an eclectic artist because I collect information about people, all people. I try to imagine what goes through other peoples’ minds in situations which I observe. Brian Waldock recently said to me “You must get very little work done if you spend as much time talking to others as you do to me” this in a nutshell is what I do instead of research - Life to me is a series of drawings - there are no situations which are impossible to draw - No theme which it is impossible to depict.

Primarily I like themes which express a particular emotion. Brian’s statement was a case in point He already was the subject of a drawing: ‘And what did you do today Darling?’ 1997 - A drawing made to launch an Original Art Exhibition in their gallery - I actually drew the Waldock Gallery itself into the background of the print, even including my own prints which were in the window of the gallery at the time. With this drawing again it is the words which say it all - The drawing is just a record of two almost actual days in my married life, (Not the same day (I cheated!)) The humour lies in the fact that busy husbands and busy wives often think the other has ‘The Easy Life’. She lazes around the house all day and He has a secretary to act on his every whim. In fact it is just that they have different lives - busy, important, but different.
For The Whichcraft Gallery Exhibition 1999 it was the location that the drawing was to be hung in (Coffee Shop) and my sore tooth which inspired ‘The Waiting’ 1999 a drawing of a queue (think dentist/starving) it fills 6 frames and measures just over 4 meters long, hanging on the wall.
This book itself has spawned a drawing of it’s own - it is the image printed on it’s cover and dust jacket titled ‘15 Minutes of fame’ 2002. It represents all the people I have included in my drawings up to now, which is just about everybody I know and the imaginary others who would really like to be in a book or write their own book.
Excluding members of my family Nichola O’Hanlon appears most often in my drawings, she is a work colleague and friend, employed by Whichcraft and has direct contact with the people who buy my work, we speak a lot on the telephone, she is last seen doing the dance of the seven veils - and pushing an enemy off a (shallow) cliff - representing as she does very well, the starsign of Scorpio in ‘Starsigns Series II’ 2002. Among others she also appears in ‘If I can dream’ 2000 and ‘New Millennium’ 1999. Killian Halpin, a prolific rock climber, is personally responsible for the propensity of rocks which have filled my drawings since July 2001 - Rocks are a very easy vehicle for depicting emotions - It is so easy it feels like cheating - but Killian reckoned if rocks are what you like to draw, then draw rocks! ‘Trusting’, ‘Tranquillity’, ‘I did it my way’ and ‘Hope’ all 2001, ‘The Challenge’ 2001 and the ‘Starsigns Series II’ 2002 which contain a 1.4 meter wide stretch of rock, are pure indulgence!
I met Margaret Davis yesterday, she saves me when my accounts are tangled, which is most of the time. She suggested I should relate the following circumstance in my book:- On my way to Wicklow to buy school shoes etc. for my son Karl, I enjoyed a white chocolate ice-cream while driving - I managed to drop several bits of white chocolate onto my blue shirt - they of course melted leaving a multitude of white smudges down the front of my shirt! - I spent the following hours’ shopping making excuses for the state of my shirt and trying to cover it by:- a) Folded arms - b) Handbag in front of - c) Twisting the shirt till the offending smudges were not visible! I am including this account to prove that her opinion of me is correct. Quite often this kind of off the cuff remark influences another drawing as in the case of Patricia, my sister-in law, who asked “How do you decide what to draw” Answer:- “It does not matter what I draw - it is the words which make it appealing - I bet if I were to draw you standing on your head someone would want to own it!” I drew her standing on her head for the next exhibition, Whichcraft, 15 October - 15 November 1999 and called it “Where is the sand?” The title which compared her to an ostrich, made the image funny and someone, somewhere is the proud owner of a drawing of my sister-in-law Patricia Brooks, standing on her head.

Collecting odd pieces of information to use in my drawings is something I enjoy - To illustrate:- Until my favourite newspaper crossword puzzle no: 11,572 - I did not know that ‘Nature abhorred a vacuum!’- which is a very interesting fact and some day when I want to draw a vacuum perhaps I will use that analogy. In this way the details which help make up my drawings are stored in my memory until I need them. This is why, when I now draw the same theme I drew ten years ago, it may be the same general idea but my way of depicting each element will have changed by ten years added experiences. My ‘vacuum’ of the day I did crossword no: 11,571 (The day before crossword no: 11,572) would have to depend on some other inspiration for its origin. My erstwhile english teacher in Caherciveen, Co. Kerry, has a lot to answer for when she told me, at the age of 12, to do crosswords as a way of expanding my english vocabulary!!
‘One moment in time’ is a drawing which was completed years ago and which had words then, but when my Grandparents recently died, just a few days after each other - They had been married for 70 years - the words became relevant and I finished them and published the print - Once the words are fully written I do not like to change them because I believe that the inspiration for the image and the exact situation which inspired those words will never be quite the same again. The drawings are limited editions which run out and of course can not be re-printed so if I want to tackle the same subject again I do it anew - for example when my son Leo ...............
The inclination here is to refer to the words of one drawing after another ....................
after another ...........
So you now know the reason for writing this book..............

What follows are all the prints I have published and their words. Where the words have not been published before I have put them in italics.


Note added 25.March 2004
These words are taken from my first book which was published December 2002 - There have been lots of new images and developments since then and I am now working on my next book............................

If you would be interested in the First Edition of my second book you can reserve a copy now and select the number out of the 500 you would like - for example you can reserve any number with the exception of number 1 - My mother always has that booked!
The price of the first book was Euro 95.00 including an exclusive copy of the illustration on the cover of the book - Link to First Book

Reserve a book

Reserve a book will only be available after the official Launch of the new look site middle of next month

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© All images and all words on this site are copyright to Anna Nielsen