安妮·帕特森是一位来自布鲁克林的多学科艺术家。她的作品包括绘画、雕塑和大型多媒体装置，结合了雕塑、建筑、灯光、视频、音乐和气味。从她的戏剧布景设计背景中，她使用这些模式来创造一种艺术实践，徘徊在视觉，体验和身临其境之间。

帕特森的作品受到多样性概念的启发，以及对部分与整体之间联系的迷恋。当你从一种简单的材料或形状开始，然后将其成倍增加，会发生什么?为什么整体要比各部分的总和大得多?在我们的社会中，物质不可数数的例子是如何作为隐喻发挥作用的?

帕特森的艺术探索了这些问题，他使用了一种多种多样的材料——7英里的铝线、100英里长的钢琴线或34英里长的缎带——创造出令人敬畏的隐喻作品，这些作品概括了群体动力的变革力量。她的作品探索了如何反复使用一种形状、材料或形式，创造出比其部分总和更大的东西——在规模和美丽方面伟大而不可抗拒的东西。当单个部件聚集在一起时，它们具有超越部件的品质，从而产生强大的视觉和动力效果，令人惊讶，震惊和振奋。

作为一名联觉者(当她听到声音时，她会看到颜色和形状)，帕特森试图创造一种观众的感官可以重叠的体验，产生一种构建的联觉。通过结合多年来作为戏剧设计师所学到的技能，以及对色彩、光线、阴影和运动的感觉，帕特森能够创造出身临其境的环境，将观众带入一个多感官的领域。

帕特森的大型装置在全国各地的教堂、办公楼和画廊里摆满了数英里长的织物、铝带和金属鸟。2013年，她在旧金山格雷斯大教堂担任驻地艺术家，创作了受音乐启发的装置作品《光之恩典》(gracewith Light)。20英里长的缎带与大教堂的拱形天花板相互作用，将游客的祈祷、梦想和愿望带向天空。“地球艺术”是由时尚品牌杰尼亚(Ermenegildo Zegna)于2020年委托制作的，它由数千根由杰尼亚面料改造而成的织物制成。她最近的装置作品《夜森林》于2022年夏天在芝加哥色彩工厂(威利斯大厦)开幕。

在她的水彩画和较小的雕塑中，帕特森深入自然世界寻找灵感的能力是显而易见的。她的画的图案和色彩强烈强调感官。观看绘画和雕塑转化为感受，体现了帕特森对自然的直观理解。“系列”的品质反映了偶遇的瞬间活力，其中景观或自然物体的多重视角为生活带来了体验的感觉。

安妮曾多次参加展览，包括在林林博物馆和阿尔夫斯塔德当代艺术博物馆举办的个展。她的作品曾在丹麦特拉霍尔特博物馆展出;Cristina Grajales，纽约;迈阿密Scope艺术博览会;迈阿密Aqua艺术博览会;建筑桥梁艺术交流，洛杉矶;瓦莱丽·狄龙画廊，纽约;丹尼斯·比布罗，纽约;Cade Tompkins计划，普罗维登斯，罗德岛;杰西卡哈根画廊，纽波特，RI，和一个十二画廊，亚特兰大。她的绘画和雕塑作品在美国各地(铁狮门·斯派尔、论坛传媒、诺泰克、纽约长老会医院、纪念斯隆·凯特琳医院、罗德岛蓝十字)和伦敦的私人、公共和企业收藏中展出。

安妮的戏剧和交响乐合作伙伴包括美国各地的主要场馆:林肯中心，布鲁克林音乐学院，竞技场舞台，威尔玛剧院，肯尼迪中心，联盟剧院和全国著名的交响乐团(旧金山，亚特兰大，费城，芝加哥，西雅图)。帕特森是2014年和2016年礼仪艺术CODAaward获奖者，并于2008年获得创意资本奖。她是艾尔米塔什艺术家静修所的成员。帕特森在耶鲁大学获得建筑学学士学位，在英国伦敦斯莱德艺术学院获得戏剧设计硕士学位。

Anne Patterson is a multi-disciplinary artist based in Brooklyn. Her body of work consists of paintings， sculptures and large-scale multimedia installations that combine sculpture, architecture, lighting, video, music and scent. Drawing from her background in theater set design she uses these modalities to create an artistic practice, hovering somewhere between the visual, experiential and immersive.

Patterson’s work is inspired by the concept of multiplicity, and a fascination with the connection between parts and their whole. What happens when you start with one simple material or shape and multiply it? Why is the whole so much greater than the sum of its parts? How do instances of material innumberability stand to function as metaphor in our society?

Patterson’s art explores these questions by utilizing one material in great multiplicity – 7 miles of aluminum wire strands, 100’s of lengths of piano wire or 34 miles of satin ribbon – to create awe-inspiring metaphorical works, which encapsulate the transformational power of group dynamics. Her work explores how using one shape, material, or form repeatedly can create something larger than the sum of its parts – something great and overwhelming in its scale and beauty. As the individual parts amass, together, they take on qualities that transcend those of the parts, resulting in powerful visual and kinetic effects that amaze, astonish, and uplift.

As a synesthete (when she hears sound, she sees color and shape,) Patterson seeks to create an experience where viewers’ senses can overlap, producing a constructed synesthesia. By combining skills learned from years as a theater designer, as well as a sense of color, light, shadow and movement, Patterson is able to produce immersive environments which transport audiences to a multi-sensory realm.

Patterson’s large-scale installations have filled cathedrals, office buildings, and galleries across the country with miles of fabric, aluminum ribbon, and metal birds. She created Graced With Light, an installation inspired by music, as the 2013 Artist-in-Residence at Grace Cathedral in San Francisco. Twenty miles of ribbon interacted with the cathedrals vaulted ceiling arches, carrying visitors’ prayers, dreams, and wishes skyward. Art for Earth, commissioned by the fashion house Ermenegildo Zegna in 2020, was made of thousands of lengths of fabric repurposed from Zegna fabrics. Her most recent installation, Night Woods, opened in the summer of 2022 at Color Factory Chicago (Willis Tower).

In her watercolors and smaller sculptures, Patterson’s ability to delve into the natural world for inspiration is evident. The pattern and color of her paintings create a strong emphasis on the senses. Viewing the paintings and sculptures transforms itself into feeling, which reveals Patterson’s intuitive understanding of nature. The quality of the “series” reflects the moment-to-moment aliveness of encounter, where the multiplicity of perspectives of the landscape or natural object brings to life the sensation of experience.

Anne has exhibited widely including solo exhibitions at The Ringling Museum and Alfstad & Contemporary. Her work has been shown at The Trapholt Museum, Denmark; Cristina Grajales, New York; Scope Art Fair, Miami; Aqua Art Fair, Miami; Building Bridges Art Exchange, Los Angeles; Valerie Dillon Gallery, New York; Denise Bibro, New York; Cade Tompkins Projects, Providence, RI; Jessica Hagen Gallery, Newport, RI, and One Twelve Gallery, Atlanta. Her paintings and sculptures are in private, public, and corporate collections across the USA (Tishman Speyer, Tribune Media, Nortek, New York Presbyterian Hospital, Memorial Sloan Kettering Hospital, Rhode Island Blue Cross) and in London.

Anne’s theatrical and symphonic partnerships have included major venues across the United States: Lincoln Center, Brooklyn Academy of Music, Arena Stage, The Wilma Theater, The Kennedy Center, Alliance Theater and prestigious symphonies throughout the country (San Francisco, Atlanta, Philadelphia, Chicago, Seattle). Patterson was the 2014 and 2016 CODAaward Winner for Liturgical Art and received a Creative Capital Award in 2008. She is a fellow of the Hermitage Artist’s Retreat. Patterson received her B.A. of Architecture from Yale University and her M.F.A. in Theater Design from The Slade School of Art, London UK.