Reviews and Essays

...One of the things that has impressed curator Leah Stoddard the most about Slaughter’s work is her willingness to take new artistic paths that lead away from the familiar…“what greatly impresses me about Anne Slaughter and her work is her willingness to take chances.” Stoddard said. “It’s very hard I think as an artist to experiment and try new directions. “Her work is interesting to me because it has a real European approach. That is to say, when she tries something new, she does not leave what she was doing in the past behind. It’s always continuing these themes. It’s a very sophisticated approach. She is not afraid to try something new, revisit something she has done before or even try new materials.”…
…Lyn Bolen Warren, owner and director of Les Yeux du Monde gallery, has been an admirer of Slaughter’s work since first encountering it in the 1980s.
“Although she has followed an inner voice throughout her artistic career, using it to respond to events and emotions in her own life, the works reverberate in other’s lives because they evoke human emotions, losses and memories that transcend the particular and are more about the history of our own time.”
“Her work through the years reveals a continuous and authentic artistic quest and accomplishment.”
David A. Maurer – Daily Progress, Charlottesville VA 2006

Slaughter is a contemplative artist. Coming as she does from war-torn Europe to a quiet university town, she is a close observer of two worlds, and her duality of vision is apparent in her frequent overlaying of one color or texture upon another. Her rich layering is too grand and too dynamic to be simply identified as collage. The lead, copper foil or what looks like bandaged gauze as well as bits of painted canvas and paper evoke strength and force of serious thought. These collaged elements become potent symbols. But the most prevalent and symbolic of the elements are her bits and pieces of handwritten texts.
… Slaughter’s work possesses an amazing sense of beauty, not just the beauty of a message of hope, but the physical beauty of harmony and elegance. However even in her most beautiful and elegiac paintings there are still signs
of tearing and forcing elements into a new whole, one that is elegant and emotionally provocative.
Sally Troyer - independent curator - catalogue essay 2006

…People are absent in human form in Anne Slaughter’s work, but they are present in the marks they have left, physically, intellectually, emotionally and spiritually. The transformation of the remainders of doors or walls into expressive paintings infused with glowing colors and rich textures pulsate with commonalities of human memories…The artist infuses her paintings with temporality while struggling for power and mystery…
…Slaughter seeks an understanding of our universe. Passionate about art and its relevance to nature and human experience, she embraces her love of beauty and seeks to convey it profoundly. The essence of Slaughter’s struggle is contained in her White Paintings. This is about silence, about loss. Stillness, the absence of energy as it fades and finally forgetting. White to the artist is the color of light and death. It is the purity of a bleached bone in the desert or unsoiled snow. It is an essential part of her vocabulary and she views it as having many colors to express the distillation of silence…
Vivienne Lassman – independent curator- catalogue essay 2006

...The strong textures and surfaces in the current exhibition reflect her previous work. The paintings and the sole sculpture are done in mixed media, with acrylic paint, lead foil…Some of the canvases are slashed, their gashes filled with small cloth or paper bundles, like hidden treasures.
It is that sense of mystery, the feeling of secrets revealed but inexplicable that give Slaughter’s work their emotional power. We wonder who lived in these walls, although the answer is obvious, we all do….
Memory of Walls – Ferdinand Protzman, Washington Post 1995

Troyer, Fitzpatrick and Lassman Gallery is showing a fine group of paintings by Anne Slaughter from her “Memory” series. The central theme running through all Slaughter’s works in recent years is the erosive power of time, how it inexorably wears down the natural world and renders people physically, mentally and emotionally indistinct….
…There are many lovely paintings –subtle, lyrical, engaging—in the show. But the single most powerful piece is a sculptural installation titled “Portal of Memories #1”. It consists of am arched doorway…From the apex of the doorway Slaughter has hung a bunch of letters in her native French…the letters function like bits of sand passing through an hour glass. Their significance and context are steadily eroding….
There is something overwhelmingly honest in the sculptural installation and a terrible simple beauty.
Reflections on Memory – Ferdinand Protzman, Washington Post 1998

The walls reference the residue of war destroyed houses from the artist’s childhood memories of her native Belgium. However, the pieces in this show achieve a universality that transcends specific time and place. The layering of materials…beautifully captures the artist’s concept of the layering of memories and surfaces. She masterfully integrates the components of her work so that color, texture, and composition achieve a flawless interaction…
Memory of Walls – Koan, “must see” Sheilah Rotner 1998

Fading messages are given concrete form in Anne Slaughter’s mixed media compositions. Bundled together like precious artifacts from the distant past, or scratched on a mesh-covered ‘wall”, they speak of antiquity, love, war, happiness and sorrow. In her memorable compositions, Slaughter keeps the past alive.
Ruth Latter, Daily Progress, Charlottesville, VA 1999

Artist's Statement Resume Bio Reviews