Press
Her work has been documented by The Washington Post, NBC News, The Scotsman and the University of Glasgow — and sold at Sotheby’s, New York, alongside works by Andy Warhol, Willem de Kooning, Gerhard Richter and Robert Rauschenberg.
Selected press
“Sotheby’s in New York is to sell the artwork by Scottish artist Miss Al Simpson, alongside pieces by Andy Warhol.”
Read the article →“Anna Louise Simpson’s AI-driven art features in Sotheby’s New York Contemporary Art Auction alongside works of Warhol, Richter & Rauschenberg.”
Read the article →“Miss AL Simpson, an award-winning crypto artist, has been at the forefront of the web3 movement since 2018. Renowned for her distinctive style, she seamlessly merges digital graffiti with animated 3D historical motifs.”
Read the article →“A peer-reviewed academic study of the NFT art world, citing Miss AL Simpson among its leading figures.”
Read the article →“It seems fitting to feature artist Anna Louise Simpson this week, while the stock market crashes and crypto markets are in chaos… Miss AL Simpson’s latest work entitled “Glamour Scammers” essentially portrays a woman crying dollar signs.”
Read the article →“Edinburgh cryptoartist Anna Louise Simpson is the only female cryptoartist ranked in marketplace SuperRare’s Top 20 NFT artists.”
“Today, Simpson — whose digital collages might be described as Dada grunge meets Moulin Rouge glam — has sold the most artworks of any artist on SuperRare.”
Read the article →“Anna Louise Simpson, an artist based in Scotland, was making traditional collage art when one of the main crypto art platforms contacted her to see if she was interested in tokenizing her pieces.”
Read the article →“If Anna Louise Simpson’s digital collages look familiar, it’s because they mine the coincident streams of pre-pandemic consumer culture: the iconography of high street fashion brands that suffused our sub-conscious before the virus made all that redundant, and the ripped-up fragments of a post-punk sensibility that critics keep telling us is no longer relevant but which, somehow, continues to resonate, especially in these uncertain days. Her art is, at once, salvage and salve, a cut-and-paste recovery of a conflicted self — not emotional repair but psychic re-invention — replicating the ambient decay of the dour Scottish inner-city urban environment in which she lives and works, its tattered, defaced textures not so much a canvas as the absence of one, which she is compelled to repopulate with idealised and yes, sexualised figures and inanimate objects of desire/nostalgia culled from magazines — already anachronisms in a relentlessly digitalised culture — almost as if to ease the collective anxiety of an age at a loss. As artist and arbiter (and, it has to be said, style icon), Anna Louise Simpson is a guide through this age, her found art a cartography of sorts, but not always to be relied upon.”