Ann Ledy is a visual artist whose studio practice has evolved from painting to works on paper and sculptural media. Ledy recently established a new studio in Millbrook, NY. She currently splits her time between Millbrook and New York City where she has been based for over forty years.
In the early 1980’s, Ledy’s artwork transitioned from the painted plane to creating a series of book pieces that explore the physical experience of viewing and reading in relation to memory.1 She is fascinated by the idea of the book as an object-in-succession. She compares the effects of visual memory in this context to “afterimages” that “make time.”2
Subsequently, Ledy deconstructed her book pieces, and began working directly on paper. These works on paper evolved from composite images on layered papers amended with drawings, juxtaposing what the artist refers to as “universal symbols” with “self-referential marks.”2
In recent years, Ledy’s drawing elements are oriented against a grid. The ghost images that hover beneath the surface create an illusionary space that is both real and imagined. They are abstract mappings of conceptual spaces. Architecture, the Japanese gardens in Kyoto, and the urban hard scape of New York City, are some of the primary sources of Ledy’s visual vocabulary.
In the 1990’s, Ledy began a series of steel wall reliefs and floor sculptures. These works consist of multiple plates and uniform shapes. They are architectonic and site specific. They depend on a light source to create shadow. These shadows illuminate patterned shapes on the wall and floor. Ledy considers these works wall and floor drawings. Similarly, Ledy’s found object installations, an on-going body of work begun in the 1990’s, appear familiar through the careful attention to material, surface and arrangement of parts.
Ledy’s most recent wall reliefs and sculpture are in painted aluminum. They physically move beyond their three-dimensional surface. Playing with light and shadow, they project and create an illusionary space. Like Ledy’s works on paper, the viewer is invited to engage and reinterpret what is given.
Ledy has exhibited her work extensively across the United States and in solo exhibitions in New York, Minnesota, Germany, and South Korea. Her works on paper can be found in many private collections and permanent collections of the following museums: Arkansas Art Center, Baltimore Museum of Art, Bowdoin College Museum of Art, Colorado Springs Fine Art Center, Fogg Art Museum, Hood Museum of Art, Krannert Art Museum, Museum of Modern Art, National Gallery of Art, Rhode Island School of Design, San Diego Museum of Art, University of Minnesota, Walker Art Center, Weatherspoon Art Museum, and Yale University Art Museum. Ledy received a BFA from the University of Minnesota, Minneapolis, Minnesota, and an MFA from Pratt Institute in Brooklyn, New York.
 Amy Eshoo, 560 Broadway: A New York Drawing Collection at Work, 1991-2006: 24, 36.
 ”Ann Ledy to Christine Mehring,“ September 9, 1996. Werner Kramarsky Papers, The Museum of Modern Art, New York.
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