About the Artist
About the Artist:
Anne Bedrick is a sculptor and painter based in Palm Springs, California. Her work is included in the rare book collection of the University of Virginia and has been acquired by over 150 private collectors. It has also been exhibited nationally in solo and group exhibitions, including shows juried by curators from the Metropolitan Museum of Art, the Guggenheim Museum, and MOCA Los Angeles.
Bedrick co-founded Desert Open Studios, an annual open-studio tour supporting over 150 artists, and helped establish both the Modernism Week Art District Tour and the monthly art walks in the Perez Art District, where her studio is located.
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Artist Statement:
I explore our shared need for connection and the emotional residue it leaves behind — the traces people leave on one another. My work lingers in the unstable space between tenderness, power, and the longing to be seen.
My cement figurative sculptures exist in psychological exchange with each other and the viewer. Their gestures and facial expressions shift between tenderness and confrontation, heightened by elongation and painted surfaces. In The Observer, a figure watches, seemingly bound by painted lines, unable to act. In another, a figure presses her hands to her heart, head tilted back, overcome with feeling. Some figures are more playful but still destabilizing. In my depiction of Adam and Eve, Look, I’m Gonna Eat It, Eve holds all the agency. The figures are fused down the center, appearing to share a leg and an arm, but both belong to her. She is determined and ready to take the step; he is uncertain, literally standing on one leg and looking to her for direction.
My paintings hover between figuration and abstraction, navigating inner and outer experience. Their scale envelops the viewer, insisting on the physical experience of standing before them. Figures emerge and dissolve at the edge of abstraction, their instability echoed in fractured spaces. In The Imprint of People, I examine how memory continues to shape us. In Fire on the Hillside, a figure walks with their head perched on an elongated neck, a target painted across their breast. In Paid No Attention, a small child plays dress-up, hoping to be noticed while the chaos of the adult world gathers around her.
Recent abstract paintings introduce large, vaguely animal forms hovering like clouds, carrying the emotional weight of the present moment without settling into narrative.
Together, my paintings and sculptures form an ongoing inquiry into human connection, vulnerability, and the traces we leave on one another, inviting viewers to inhabit spaces of tension, reflection, and unease.