Painterly and sculptural techniques are employed to capture nature’s movements in relation to weather phenomena. Analysing surface aesthetics meticulously, Anna Franke directly transfers textures onto the canvas through frottage, using transfer abrasion. The raw canvas fabric is not traditionally stretched but shaped into organic forms. Paint is allowed to flow into the fabric folds, grasping the landscape’s rhythms and movements. Afterwards, she sews collected things such as rusty cans, bones, dried grass, or strings into the furrows of the fabric. The result is the emergence of organic structures that narrate tales of the distant past and visualise dimensions of time.




Anna documents the movements of fabrics and their changes through light and reflections in the water with videos, creating sculptures in motion. She allows huge fabrics to undergo various transformation processes of wet and dry, multiple layers of sand, pigments, earth, charcoal, and wax, until she forms organic shapes from them. The furrows serve as tracks, routes, hiding places, and scars, simultaneously. They bear scars of the imbalance caused by humans and the resulting weather extremes. Acquiring the character of aging, they appear faded, marked with traces of scratching and friction.



Found rubbish objects from the coasts of Galicia tell stories of journey, change, transition, starting from the idea that the sea is always in motion. In everything that washes ashore, transience and destruction become visible in the drawings and structures of the force of nature. The artist examines objects that have been on the move, transformed by weather and by the water masses until they have acquired a new value. Plastic parts, wood, parts of animals, human traces, organic, strange. She is concerned with the pure being of things, the morbid, the stillness, and the melancholy of what is left. She allows the treasures found on the coasts of Spain to enter into a new relationship with each other.



Anna Franke combines painting with a cross-media collage technique: the mixing of different materials (paper, paint, chalk, wax, stories, illustrations, photos, text). In her collages, Anna alienates material from several decades of advertisements, motifs of longing, holidays, eroticism, romantic consumption, kitsch, and gossip. The unrelated elements tell new stories in their interplay. She uses the aesthetics of advertising to create ironic or incomprehensible compositions and to question entrenched ideals.