- Christ in the house of his parentsSymbols of wealth seamlessly embellish the figures and setting of this painting. These recognizable objects of value allow us to question our definitions of status. Millais’ original has been collaged and cannibalized in order to reflect references of both art and fashion within western culture. Once religious icons have been reimagined as the pinnacle of consumer culture. Designers such as Celine show fluid interchanges of style as they reference Yves Klein, meanwhile retaining the original
- Wylie trips on MarsWylie trips on Mars shows a future world, in which figures are spliced onto an alien landscape. Fragmented females on Mars are loosely painted, un-weaving the static format of photographic collage.Traces of the familiar remain, as Wylie's paintings bleed through the construction of imagery, evoking the impression from which they were originally painted. These primitive marks anchor the forms in the now, while exposing the transient nature of artistic allusion.
- Truth.Beauty.Freedom.LoveThe idea of the tortured or suffering artist stems from Durer’s Melancholia, in which the subject is sat with all the tools of her trade but appears inert. She has the humour of Melancholia, depicted by a shadow across her face. This was the first notion of the artist as exiled and as in sufferance, changing the whole dynamic of how artists were perceived.
- Once upon a time in Palermo (set 1&2)Often reminiscent of existing paintings, ‘Once upon a time in Palermo (set 1 & 2)’ reminds us of Pre Raphaelite work, April Love by Arthur Hughes. The figures depicted are divided by status. On one side we are met with detail showing flowers and fruit, reminiscent of Dutch still life paintings. Through this, the paintings themselves become objects of value. This is contrasted with brutal applications of grey tones. Jagged foliage frames and emphasizes a division.
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