She builds her digital prints from dozens, even hundreds of exposures. The results are formally somewhere between David Hockney and Jeff Wall. In fact the distortions might even be considered a reference to the camera lucida.

Pictured is my favorite piece in the show. In part, this is because I'm thinking about how I'm going to present my next set of work; surface-mounting to floated plexi has worked in the past, but I think on my new images it would look and feel belabored. While I hate glass over images [I don't make pictures that you look at through paned windows, I make pictures that are objects in their own right], Anne's framed pieces showed me that, because of the conventional nature of a frame, they tend to dissappear to a viewer - sort of a suspension of disbelief, I suppose.

George gave me a lot of thoughtful background on the work, and some of it I remember from when I met the Anne at Charles Cowles last summer. But in the end, the background info [her exploration of the trauma of losing 'familiar' spaces] didn't effect me as deeply as the experience of the pieces themselves. I became attached to those spaces, or the idea of them, completely without the emotions that drove her to create the images. The images conjured their own emotions - for me at least.