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Painting (MA)

Annice Fell

Horizontal yellow ochre lines entering in to darker horizontal lines with a green form stretching from the centre to top right.
a painted triptych
Happened
A horizontal yellow ochre thickly painted line with red oil pastel emerging from below with visible layers of pink behind.
Detail image of 'Happened'
A thick yellow ochre monoprinted diagonal from bottom centre to top left with coloured intersections going between.
Detail image of 'Happened'
purple and green working against each other directionally in horizontal marks. Mirrored under a yellow line with red and green.
Detail image of 'Happened'

Medium:

Oil and Oil Pastel on Linen

Size:

Triptych, 200cm x 180cm
A canvas split in the middle with a green line and pink forms ebbing from the split either side in to an orange border.
'Interference'
textured marks in oil pastel and oil paint curving downwards, with two vertical lines in pink and then green on the left
Detail image of 'Interference'
monoprinted painted marks curving from the left upwards to the right with a variety of painted organic forms painted around.
Detail image of 'Interference'
A bright blue curved upwards mark coming from just below central right moving upwards to the centre with textured organic forms.
Detail image of 'Interference'

Medium:

Oil and Oil Pastel on Linen

Size:

130cm x 180cm
A textured yellow and orange painting with a split in the middle and the contrast of a dark blue in two circular forms.
'Blinking I'

Medium:

Oil and Oil Pastel on Linen
A linen painting on the wall
'Muted Tension'
A cross on the central left with dark brown, red, and green colours circling around the cross. With patches of blue and pink.
Detail image of 'Muted Tension'
a diagonal bifurcation of yellow ochre and red with a transparent green swooping through underneath it in the other direction.
Detail image of 'Muted Tension'
monoprinted paint marks with raw linen showing through where the transfer did not happen. Bright yellow marks fill some of these
Detail Image of 'Muted Tension'

Medium:

Oil and Oil Pastel on Linen

Size:

140cm x 200cm
a diptych of a red form on top that parts off the middle and centres the middle of the bottom panel with raw linen being visible
'Envelop'
Diagonal textured marks from the top left to bottom right in red, blue, brown, yellow ochre, purple, pale and bright orange.
Detail image of 'Envelop'
Cadmium red dividing line that is diagonal with textured straight printed marks in front with off white horizontal lines behind.
Detail image of 'Envelop'
A variation of textured marks, some thick paint and some thinly applied with raw linen showing.
Detail image of 'Envelop'

Medium:

Oil and Oil Pastel on Linen

Size:

Diptych, 200cm x 160cm
Light blue frame on the left and bottom and a ultramarine blue on the right and top with brown lines protruding from the centre
'Blue Wallpaper'
A transparent green paint monoprinted on to paper and the parts where the transfer hasn't happened is filled with darker green.
'Untitled'
A burnt umber (brown) working against a king's blue (light blue) with browns and oranges travelling in between these colours.
'White Noise'

Annice Fell (b.1997, London) is a British artist living and working in London. Before the Royal College of Art she completed her BA at the Slade School of Fine Art, University College London. Fell was the recipient of the Betty Malcolm Prize and the Richard Ford Award. Most recently, she was included in the group show Pressing The Ear Against The Ground I Could Hear the Far Galloping Coming Near, London.


Degree Details

School of Arts & HumanitiesPainting (MA)RCA2023 at Truman Brewery

Truman Brewery, F Block, Ground, first and second floors

Girl in red top sat on chair with legs crossed in front of a landscape (orientation) painting and a portrait painting behind.

On the edge of understanding; the paintings are an exploration of the unconscious, intuition and response. In their process of merging painting with monoprint, journey becomes an inevitable theme as the act of painting is entered in a similar way to that of decalcomania. Any attachment to an initial starting point is lost via this method.

What is definite of the works is their relation to the body and space. They are not contained by the binaries of abstraction and figuration but rather encapsulate human experience. The paintings relate to present thoughts and become a snapshot of both temporary and permanent states of mind.


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Royal College of Art

Registered Office: Royal College of Art,
Kensington Gore, South Kensington,
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