Barbara Dowse, In Search of Rainbows 2017

In a ‘Proustian’ way, In Search of Rainbows mines those moments of psychological flash and fragmented recall. Anna Carey embraces the connection between space, colour and memory posed by philosopher Gaston Bachelard of spaces as psychological resonating chambers, exterior sanctuaries for our interior states, in much the same way that poetry is for daydreams.

In Search of Rainbows is a suite of seven fictional interior spaces modeled in miniature from artist Anna Carey’s poetic conflation of recollection, imagination and reality. Colour is the decorative, structural and expressive vehicle for the artist. She tells how when she encounters familiar architectural spaces of a particular colour it triggers and associates memories and emotions that flood her new experience.

Each environment of In Search of Rainbows is dedicated to a range of hues within a single colour from the rainbow’s spectrum: red, peachy orange, yellow, green, blue, pink and mauve/purple. The models evolve intuitively as ambiguous spaces saturated with shades and shapes of colour. Interiors are detailed with fanlight windows, sky-lights, ceiling fans, pot plants, stairways, ventilators. Their transitional development is acknowledged in the swatches of colour patched on walls, scattered construction materials and light filtering through fissures of what are as much dreamscapes as architectural designs or prototypes.

Following on from her Stardust series where Google maps was a research tool for locating like-named motels for her models, Anna Carey again accessed the on-line data, this time zooming in, seeking hotspots for colour-mapping and sourcing geo-tagged colour-clusters for potential psychological or political concentrations and associations with place.

The photograph format magnifies aspects of the miniature, reminding the viewer that the transient space is artifice, a constructed object. The artist shoots in the open, in infinite space in the landscape. She seeks to photograph in an anonymous setting even though only glimpses of landscape can be had. A consistent light level is desired for each body of work and a light that is sympathetic to the colour and ambience and mood of the interior. The artist re-located from Australia to California in 2015.  She took the models for Rainbow to the desert precinct outside Palm Springs to shoot the series in early 2017 as the light in Venice Beach where she lives did not have the clarity she desires.

Anna Carey aims to reawaken imaginations for the viewer by creating a space of stillness, solitude and contemplation, a place for remembering days, forgetting time, for reverie, for drifting between reality and daydreams induced by colour, space and memory – for rediscovering that which is in yourself.


Barbara Dowse



Andrew Baker, Stardust 2015

Anna Carey’s Stardust is a photographic suite featuring five retro-styled ‘Stardust’ motels from different parts of the world. The motels exist in both ‘… then’ and ‘… now’ versions, resulting in a suite of ten images. Anna’s fascination with mid-twentieth century architecture arose while growing up in Queensland’s Gold Coast, where she was exposed to such edifices for the first twenty-odd years of her life. Later, while travelling to Los Angeles and Las Vegas, Carey got to see many of the original buildings whose style had influenced Gold Coast architects of the 1950s and ‘60s.

To create her fastidiously constructed ‘… then’ photographs, Anna sourced historical photographs of retro-styled ‘Stardust’ motels from the Internet for use as reference images. She used these low-quality photos to design and roughly fabricate miniature models of the motels using flimsy materials such as paper and foam core. Carey photographed the intricately detailed models within cinematically-styled ‘sets’, which featured oversized photographs of real landscapes as their backgrounds. Taking the lead from early Hollywood filmmakers, Anna shot these highly-stylised tableaux vivants under natural light in Los Angeles—the city where she now lives and works.

Once the ‘… then’ versions of the various ‘Stardust’ motels were created and photographed (showing the buildings in their theoretical ‘prime’), Anna used Google Maps to find images of how they currently looked. Using these images as a guide, Carey ‘renovated’ the models to produce realistic ‘… now’ versions of the motels. Creating updated locations into which they were placed, Anna re-shot the overhauled models to create present-day versions of the motels. The resulting photographs show how the buildings have metamorphosed since their glory days, highlighting features such as revamped signage, repainted walls and phased-out swimming pools.

As a child of the Internet-generation, Anna Carey helps us to understand how technologies such as Google Maps, Navman and Global Positioning Systems have become the tools of choice for contemporary orientation, fact-finding and planning. In so doing, these new forms of information management have largely made redundant the beautiful retro-styled signage which formerly adorned our highways and byways, advertising the location and services of roadside motels.

This project uses international examples of retro-styled ‘Stardust’ motels to exemplify the world-wide homogeneity of a style of architecture which is distant from yet connected to contemporary culture, both in time and space. It also demonstrates how, over time, digital technologies might change the appearance of urban landscapes all over the world.


Andrew Baker, Art Dealer



David Malouf, Anna Carey 2014

Anna Carey works with photography. Places once deeply experienced, houses called up out of memory and the holiday times she spent there as a child, are the subject of her art.

The colours in which they appear, the skies that light them, their odd details and haunting isolation, appear to her first as an interior picture, and are then reconstructed as simplified three-dimensional models. She then ‘fixes’ them as two-dimensional photographs: not of what was once there and actual, as in the usual holiday snapshot, but as a reality remembered, or significantly mis-remembered and remade. This is the artist’s way of reproducing the process of memory itself. In which time, but also feeling, changes, simplifies, sharpens what was once untidily real and preserves only what is relevant to the emotional charge it carries.

A moment of time lost is recovered, as in Proust, but in a deeper and more enduring form, by allowing it to be flooded with the light not only of time past but of time remembered, and the time between.

In this way Carey lays claim to something of the freedom that language possesses: to work, through the exploitation of tense, in more than one moment at a time. Not simply, that is, in the immediate present that is the special realm, but also the limitation usually, of the purely visual arts.


David Malouf, Author