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[Click image thumbnails for enlargements and information.]
Maine Meditations series
Each summer while in Maine I make a series of these meditations.
Ireland, Sea and Sky series
  
Ireland, Canon of Surrender series
In Ireland at a remote residency I learned that a group of monks from the Canon of St. Augustine roamed the area where I was living. Whether channeling the monks or just imagining what it would be like to denounce earthly pleasures, I created this form over and over again and felt a tremendous calm in doing so. Later, returning to the States, I learned that this form, placed on its side, meant eternity.
Japan Observed series
 
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Seven Landscapes for the New Millennium
Lillian Immig Gallery, Emmanuel College, Boston, MA
January 19, 2000 – February 17, 2000
This portfolio consists of seven drypoints printed on bright white Hahnemuhle Cooper Plate by Jenny Mikesell at Mixit Studio, Somerville, MA. Paper size is 11 x 31". This is a limited edition but can be purchased individually.
"Seven Landscapes for the New Millennium, a drypoint print portfolio throws itself into the maelstrom of passing time, albeit with hope. These are long, narrow pieces, described in feathery lines and blurry dits and dashes, like Morse code set to dance."
—Cate McQuaid, The Boston Globe, Galleries, February 3, 2000
Mapping
Regeneration
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Leaving: A Meditation on Death
Art Complex Museum, Duxbury, MA
November 15, 1998 – January 24, 1999
The portfolio consists of seven etchings and was printed by Peter Petengill at Wingate Studio, Hinsdale N.H. The technical processes include intaglio, aquatint, spit bite, soft ground and chine colle. The paper is Fabriano Tiepelo 290gr and is 26 x 19" (image size 14 x 10"). This is a limited edition but can be purchased individually. These prints were in an exhibition called "Immortalized" at the Art Complex Museum, Duxbury, MA.
"Leaving: A Meditation on Death, a suite of seven etchings by Anne Neely, intermingles fragments and organic elements in atmospheres that suggest a cosmos awash in emotion. Implicit in these hushed scenes honoring the artist's parents is a perpetual connection linking all things."
— Joanne Silver, Boston Herald, January 15, 1999
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