Anita is in a continuous struggle with her inner self. The artist within that wants to create exciting pieces that scream with bold unexpected colours, lots of movement and overlapping brushstrokes, giving depth and excitement to the painting. She strives to create a piece where shapes can be easily identified, and representative of the world around us. There is conflict here. These impressionistic pieces lean towards reality with creative exaggerations; Anita paints every bit of colour and energy she can onto the canvas. Pieces that come into being through pure inspiration, very little planning and driven from within with lots of energy, as if there is an urgency in to their coming into existence.
Now accepting that she has a natural duality, two opposing sides that are actually acting as complimentary forces that balance creativity. That highly energized expressive side and the need to create a piece that is routed in the natural world.
This may explain why Anita is naturally drawn to landscapes, drawing inspiration from Western Canada. After living in mostly cities for a great deal of her life, moving to British Columbia really opened Anita's eyes to that which exists in nature. In exploring the influences in Western Canadian art, she has met and studied with many contemporary impressionists who have drawn their influences from The Group of Seven. Drawning to Tom Thompson in particular. Anita saw his work almost as an underpainting. A piece that has the nerve to be finished, where others would have continued painting on top toward a more representational piece.She employs some of this simplicity in her shapes and applies herself to painting the negative shapes, yet always reaching for greater complexity. There are never simple colors, or vast expanses of a solid surface.
"I see my work as a statement about our world today, a world that is more complex than the 1920’s world of the Group of Seven. In some way celebrating the natural landscape seems even more important now than it was then. My landscapes are filled with shapes that have overlapping colors (no subtle shading). I use bold, thick brushstrokes or pallet knife with only selected spaces for the eyes to rest. My work is a celebration of the natural world while at the same time reflecting our world today, where it is hard for any one thing to hold out attention for long. There is tension. Movement. Colors bumping against each other. Complexity."