Anna Walach and the deeply personal act of creating
7th October 2023
By Edward Wakefield
By Edward Wakefield
Photo: Benjamin Nel
As much as telling our own story is important, it doesn't really exist without the artists with whom we collaborate. So, we figured it was about time we tell their stories too, based on our casual conversations, interviews, and co-branded projects.
First up is Polish/German artist and architect, Anna Walach.
We first met Anna at her studio in London, back in 2021, a few months before we set the creation of her five handmade Persian rugs into motion. We had no idea what this collection would look like, but we felt as though Anna’s rebellious, yet organic approach to creation was well-suited to our project at this early stage.
Anna’s raw, vibrant painting technique is on the other end of the spectrum than the traditional, meticulous Persian rug designs. The technical challenge of figuring out how to capture the unplanned brush strokes, and their nuances, was partly what appealed to us.
First up is Polish/German artist and architect, Anna Walach.
We first met Anna at her studio in London, back in 2021, a few months before we set the creation of her five handmade Persian rugs into motion. We had no idea what this collection would look like, but we felt as though Anna’s rebellious, yet organic approach to creation was well-suited to our project at this early stage.
Anna’s raw, vibrant painting technique is on the other end of the spectrum than the traditional, meticulous Persian rug designs. The technical challenge of figuring out how to capture the unplanned brush strokes, and their nuances, was partly what appealed to us.
Photo: Joel Chua
Photo: Joel Chua
Photo: Joel Chua
“My mom always says I started to paint with food, using all the different sauces.”
She was encouraged to paint and create by her mom, from a young age. However, being from Eastern Europe, her parents collectively wanted her to pursue what most consider a ‘safer’ career path - which Anna did (after training as an architect in Poland) in conjunction with her art.
During her studies, Anna recalls continuously arguing with her lecturers about different techniques - driven by her attitude of ‘doing whatever I wanted’. When she moved to London around the age of 20, she maintained the same attitude, which is visually evident in her art.
During her studies, Anna recalls continuously arguing with her lecturers about different techniques - driven by her attitude of ‘doing whatever I wanted’. When she moved to London around the age of 20, she maintained the same attitude, which is visually evident in her art.
Photo: Joel Chua
Photo: Joel Chua
Photo: Benjamin Nel
“The first money I ever earned as an architect in London, I spent on my fine art courses at Chelsea College of Arts.”
She’s inspired by her emotions, and paints when she feels the desire to, rather than within a regimented schedule, and uses this creative act as a form of therapy - an outlet. On the topic of inspiration, Anna outlines how she often bottles her emotions, instead of expressing them immediately, and is best able to express them after some time, when she is reminded of these feelings in hindsight - sometimes “from a single sentence I would hear from a friend.”
In terms of content and media, Anna dwells on certain subjects that she is emotionally connected to at the time, such as motherhood and sexuality - expressed (most often at night) through ink, oil and oil sticks, and pastels, on canvases such as paper, MDF, wood, hessian fabric, and (apparently) sometimes Persian rugs.
“I like to paint in private. It’s such a personal act. I feel very naked when I do… it’s the same discomfort as being watched while making love.”
When I look at her work, I see a raw, unconfined expression of an individual dealing with the complexities of our world and society, with a consistent sense of authenticity, imperfection, and beauty. Others may very well see something else - such is the nature of art.
In terms of content and media, Anna dwells on certain subjects that she is emotionally connected to at the time, such as motherhood and sexuality - expressed (most often at night) through ink, oil and oil sticks, and pastels, on canvases such as paper, MDF, wood, hessian fabric, and (apparently) sometimes Persian rugs.
“I like to paint in private. It’s such a personal act. I feel very naked when I do… it’s the same discomfort as being watched while making love.”
When I look at her work, I see a raw, unconfined expression of an individual dealing with the complexities of our world and society, with a consistent sense of authenticity, imperfection, and beauty. Others may very well see something else - such is the nature of art.
