In my painting series, Reflections: on Crossing, I explore the interplay of structural elements with cast lights and shadows. On my commute across the San Francisco Oakland Bay Bridge, I have observed the patterns cast from beams and cables onto the pavement surface. This abstract imagery I draw upon for my compositions. Studying the reflections allows me to focus on detail areas within a broader view, seeing the abstractions in closer proximity, the patterns amongst the road lines, and colors and textures of the concrete pavement. I work in oil, layering and moving paint with varied brushwork, and in the process, discover new forms related to the bridge.  Working on each painting is a unique experience and challenge.  In referencing the realistic imagery of the bridge, I also explore other levels in the process - the space, light, quiet, motion and temperature - elements integral to my artistic experience.

My recent work comes from a view outside a small window in a medieval house in France. The lights and shadows cast from a fig tree onto a neighboring wall are a source for new imagery, the reflections providing 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 "Reflections: on Crossing" series based in the Bay Area. Presenting in combination, they represent the urban and rural imagery I experience in both places.

Anne Subercaseaux 2010


"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."