Commission by Anna Rae


Beach commission by Anna Rae


Anniversary by Anna Rae

One year ago today I started to take Anna Rae Art full time.  I was still watching children in our home and the idea had been sincerely considered for about a month. It was the beginning of a calculated shift to where Anna Rae Art is today. I wouldn’t have had the chutzpah to do this if I didn’t have what feels like millions of people cheering me on. I have a couple secret Mom groups that I’m in and someone asked me “What is your dream job.?”  They cheered me on, spread the word, and even supported me financially. This became a thread to pull through the days of doubt and times when the hurdles seemed insurmountable. I’ve tried to say in many ways how thankful I am for that. Thank you. Thank you, family, friends and acquaintances. Your support is so appreciated and please know that your fuel was and continues to be a crucial part of any of my successes.



Until a year ago I had a variety of evolving ways of engaging and expectations of myself as an artist. For some reason, maybe fear of failure or unwillingness to risk time and money, doing street festivals and commissions was a turn off. I didn’t have as much respect for the work that is presented in these venues. How silly that was, in retrospect. And how naive I was that I couldn’t bend these venues to both benefit and engage folks in a way that satisfies my distilled artistic goals. The art world as an organism or institution has a quiet rule that where I’m at right now is considered “selling out.”  That letting the control of your work be driven by others takes away your authorship. Well, I’m okay with that and I definitely have concluded based on my experiences that this world is not only not an indication that I’ve sold out but for me it is also in many ways more fulfilling than being an artist driven with more of their own authorship. First of all, art can be defined in many ways but the distilled facts that all theories of what art is and could be comes down to a couple of facts. Art is an engagement; a thoughtful idea manifested concretely. Even art that we cannot touch, (i.e. sound art) is a manifested and concrete idea. The goal is typically to engage a viewer and have a conversation. Sometimes it’s internal.  Sometimes external. Sometimes artists want to engage as many viewers as possible. Some are more concerned with the intensity with the viewer that speaks to a slim audience. My work has always been created with one intention entwined with a variety of others variables depending on context. But it has always been concerned with speaking to the people. Engaging in a human way that wants to be a mirror of our world; macro or micro. I’m not concerned with being in the institution of art nor criticizing it. My work has always been tethered with threads of vulnerability  and flaws in a way that holds a hand out to hold onto your magical heart. Second of all, and I've spoke of this before, there is magic in the creation of illustrating a moment for a client.  It's a token referred to and my job as an artist is to memorialize that moment.  Photos snap moments and painting snaps a moment with a brilliant filter.  An amulet that anoints your treasured moment, sealing it.  If I were to list some of the variables that goes into my work that cannot be physically manifested it would include that feeling you get when something excites you so much that your you can feel your stomach dance and ruffle and flutter. The fight or flight feeling is our only way to manifest both positive and negative vulnerabilities. One might be terrified or falling in love but both are vulnerable and a sign of excitement. That feeling is distilled in both my personal studio and my commercial studio. You can’t turn that off. It might be on a spectrum but it is a constant variable on both sides of the fence that holds my artistic endeavors. My anxiousness travels from mind through hands to paper as well as intense compassion, love and fears. I’m proud of keeping that distillation. While it is a spectrum for artists there are some that put very little in their work on both sides, personal studio and commercial. It isn’t hard for me to maintain and I’m proud that I can keep it close to my work. One year ago I painted Gregory Crewdson’s home, a church converted to living and work space. It looks like I ended up emulating that model and it was one of the best decisions I’ve ever made. I can’t wait to see where we go next.  


Selfie station by Anna Rae

I finished up this fun window painting this afternoon and had a buddy to try it on for size. ;)

Check it out in person at Lena Rose in Ravenswood in Chicago  



Pullman Home by Anna Rae

This is a commission of a gorgeous rowhouse in the Pullman District in Chicago. This land was built by the man who brought you the most luxurious sleeping cars and the riot that proved unions had influence. There's a tour of the neighborhood this October:  Here is  the link. 


And that's Olive in the porch in her red bandana. Good dog. Stay.  


For commissions, email:



11:11 by Anna Rae

Window installation at 11:11 Salon in Griffith, IN, owned and modeled by the illustrious Leah Gunn. 


Architecture Underpainting by Anna Rae

The most elastic of sunlight for this house. 


Hart and Burbank by Anna Rae

I don't know much about this house. I want to say it's a week before Halloween and there's tissue paper and glue sticks astray in the romper room because someone wants to dress up as X The Owl from The Land of Make Believe. The end. 


For commissions, email:  


No Fence. No Neighbors. by Anna Rae

I spent some time trying to categorize my style because there is power in naming things.  This work is closest to what I've worked toward in painting outside of commercial work.  It's been awhile since I've released any of my private studio work.  I love documenting homes and faces.  I also love getting lost in a work with no visual reference.  I kept looking around for a photo to refer to and there was relief when I had to keep reminding myself that the only reference for this work is inward and abstract.  


Intuitional Abstract?

Emotional Abstract?

Cognitive Abstract?

Empathetic Abstract?

To BUY it.  

No Fences.  No Neighbors.  Watercolor on Arches, 9"x12", 2017

No Fences.  No Neighbors.  Watercolor on Arches, 9"x12", 2017

90° by Anna Rae

Our basement is welcoming with open arms to both old and new wood. New stretchers are coming together for a new oil on canvas series. Coming soon. 


Spine by Anna Rae

Thin layers with this commission and a brand new backbone. Lits and Figs. 


For commission, visit the store or email me,  


Realtor Commission by Anna Rae

A finished watercolor painting for a realtor for a closing gift.  


New Realtor Commission by Anna Rae

Hers a new commission for a closing gift. Work in progress, underdrawing.  


New CTA painting in the works by Anna Rae

WIP/work in progress. Underdrawing of an el stop in Chicago. 


Kayak Commission by Anna Rae

I have so many great memories around this spot in the river. Most of them during one of several architectural boat tours.  😂 


"1935 Wrigley" by Anna Rae

Prints are in. Framed "1935 Wrigley" is looking mighty fine. Prints and postcards here!


Douglas Coupland by Anna Rae

One of my favorite authors bought this house in West Vancouver. I love his quiet provocativeness by way of minute details. He holds up the best mirror to our common threads in human nature. I don't think I've ever felt more risky than these days but I would rather be anxious than complacent, well fed and sufficiently entertained at Disneyland. 


Come over here for a print of "Douglas Coupland's (AKA Revised and Contemporary Oscar Wilde) Second House."