My paintings in oil are a visual exploration of forms and lights of engineered structures. The lights and shadows projected from or onto these structures invite me to paint abstract compositions in close proximity. In past years, I worked in architectural and engineering offices, initially as a draftsperson in various fields and later as a graphic designer. These places of work had an influence on me. I began to observe and study sights, those that I encountered daily within urban and natural settings. Commutes over the SanFrancisco/Oakland Bay Bridge presented a spectrum of structural configurations cast by afternoon light onto the surface of the roadway span. In creating the Reflections: on Crossing series, I painted over fifty canvases and forty paintings. At present, I find other structural sights and interiors of contemporary buildings to observe and paint, leading me on another avenue of abstraction.

Summers spent in a small medieval town in Southwest France have given me the opportunity to observe natural imagery both within the village and surrounding countryside. Lights and shadows cast against a wall provide ground for abstract compositions. Patterns evolve, reminiscent of camouflage, ikat and Asian designs. Working with these natural forms is in counterpoint to the structural imagery of the Bay Area. Presented in combination as dyptichs, they represent the urban and rural imagery I experience in both places.

Anne Subercaseaux 2018


"Following the path of Anne Subercaseaux, one can see a stylistic progression from the specificity of portraiture to the sensitive renderings of her Altamont Pass series, to this highly abstractive, yet profoundly realistic work. . . . The geometrical abstractions of understated color in this series bring to mind the quiet works of Agnes Martin, Giorgio de Chirico and Richard Diebenkorn, who, like Subercaseaux, do not use explanation points, italics or bold underlines."

Susan Hillhouse, Curator of Exhibitions, The Museum of Art & History, Santa Cruz
"Reflections: on Crossing" exhibit catalogue, Morris Graves Museum of Art

"She creates for viewers representations of the environment they recognize with satisfaction as familiar, and yet she gifts them with much more than representational paintings. In all her works, even the most modest, she conveys intimations of the mystery that dwells beyond the facade of the commonplace. And in her finest works, whether paintings or drawings, she conveys a sense of the sublime equilibrium
of life."

Robert McDonald, Critic
"The Art of Anne Subercaseaux"

"Anne Subercaseaux's series of oils find poetic equivalency in rolling hills and revolving windmills. The most arrestingly composed of her pieces, 'Transcendence/Transformation', is divided into thirds: midtone gray two-lane highway spliced by the double yellow line; scorched field edged in rusty weeds; misty hills with a house and windbreak nestled under the pearl-gray sky. Smack in the foreground of this lovely view, just off-center, stands the derrick of an elecrical transformer tower so massive that the top rises unseen off the canvas. The tower, which might conventionally be viewed as an intrusion, is actually the only object capturing the downcast glints of light that lend the sense of otherworldly power within the ordinary that earns the painting's title."

Ann Elliott Sherman, Critic
"California Dreaming: Artists redefine the lay of the Golden State at Triton Museum."