Ann Morton was born in 1958, and grew up in country New South Wales, Australia; where she commenced painting compulsively at the age of 9. Encouraged by her artist/ inventor father, an appreciation of the beauty and colours within the natural world around her began. As a young girl she produced works far beyond her years, and so she started entering and winning adult art competitions. In her late teenage years, Ann left Australia and started her journey of discovery, travelling throughout Europe and North America. During this tour she spent countless hours in Galleries and Museums studying the paintings of the old classical masters, such as Rubens & Rembrandt…closely observing and learning their use of light, texture and colour. Later Masters of the 19th & early 20th century, such as JW Waterhouse, John Singer Sargent, and Sir Lawrence Alma-Tadema were also to have an impact.
Over the years Ann has continued to develop the skill and knowledge gained, being able to enjoy a highly successful full-time career. She has never received any formal training, yet has lectured at two of her country’s leading Universities.
Ann Morton lives on a property near her hometown, and travels 6 days a week to her studio. Her works are represented in private and corporate collections around the world. She is a member of the Australian Portrait Artists Society, and was represented in an exhibition in Washington DC in 2005.
Throughout her career in Australia, Ann has won many awards for both portraiture and still life paintings.
In her own words…”To create paintings that can arrest you from across the room, but also give you the detail to sit and look into the painting, to meditate, feeling the textures – looking around behind the object (‘painting around the corners’). Drawing attention to some areas and losing others in mystery.
As I have worked and studied, I found two major threads to this magic. One was quite plainly the abstract patterns of light, colour and detail that delight the eye. The other was the actual content, the beautiful objects, flowers, plants and fruit that attracted me. All of which evoked emotions such as pleasure, nostalgia or just pure joy! I found that this magic only happened when I was painting the things I truly loved. Thus I set out to gather these things around me: - From fine china, French lace, antique silver, rosewood tables and ancient Indian wares to modern ceramics and colourful silk scarves. It is surprisingly difficult to find the things ‘that really work’, and I am continually using them in different combinations – using each as a phrase in my vocabulary of beauty. Integrating the old favourites with new finds.
Mostly influenced by the European School of Art, I love the juxtaposition of natural things with man-made objects. What is it that we put in the highest place of beauty in our homes? – A bunch of flowers, and ragged looking ferns, the irregularity of pattern as opposed to the symmetrical and mechanical nature of our cultures finely crafted artefacts.
In an age of speed, I revel in the time I can put into my paintings. Time spent creating something that will delight a person enough for them to want to take it home. It is an art form that has grown from a slower age, but I feel that this makes it more valuable to us now.
I could spend a great deal of time explaining the how and why of my work, however the important thing is that I really just try to create inspiringly beautiful paintings!”