Micheal Lett’s book, Documents, 2021-2023 contains two essays written in response to the work of Anoushka Akel. ‘How Does it Start the Sea’, written by Selina Ershadi reflecting on the exhibition Wet Contact, 25 February - 2 April 2022, at Michael Lett Gallery. ‘Concurrence’, written by Lisa Samuels in response to the same exhibition. I wrote about Selina Ershadi’s essay in my first critical text assignment in my first year. Akel also has an upcoming solo exhibition at Te Uru opening in August. She joined Whitecliffe as an MFA supervisor this year, and although she is not my direct supervisor, she led my critique in the April seminar, her comments were very helpful.

Anoushka Akel, Group Portrait (Red Eye), 2021, lithographic ink, acrylic, oil, charcoal, turmeric, sea silt, 1050 x 1130mm

The Sea is Another Story, 2022, lithographic in k and oil on unstretched canvas, 1070 x 1440mm

Wet Physics, 2021, oil, pastel and wax pencil on canvas, 1000 x 1500mm

Anoushka Akel, Being Marthe, 2021, oil, coloured wax pencil on canvas, 350 x 450mm

Protective Painting (2), 2021, oil and wax pencil on canvas, 1000 x 1500mm

Reeds, 2018 oil and gesso on canvas 350 x 450 cm

Anoushka Akel, Diver, 2022, oil on canvas, 850 x 600mm

Anoushka Akel, Examiner (5), 2021, oil on canvas, 600 x 450mm

Notes on ‘Concurrence’ by Lisa Samuels:

Opening description of the painting, Wet Physics, which is positioned prominently at the entrance of the exhibition.

“It’s an arrival painting, coming across as a welcoming blue opening of physical vision. Its welcome is opaque, medium thick, strata and currents of feeling overlain and perfused with indeterminate arabesques of variant lines.” The importance of first impressions to set the tone for the exhibition. The expanse of blue, the strata variations, the variant lines of current. This painting sets the tone. There is always mention of layering with Akel’s work.