The insensate, reclined subject matter accepts a limbo landscape that is both romantically alienating yet dominated by claustrophobic low-key tones, bridging Carravaggio’s academic rendering conventions with the contemporary qualities of Louise Hearman’s psychical portrayals, developing into a diptych that crosses tradition and modernity. The mortal loss of August Friedrich Schenck’s “Anguish” was echoed in the surreal visual language of the crows. The engulfing mass of industrial components and silicone become recyclable nutrients and references my starting point influence, sculptor Patricia Piccini’s speculative future biomorphs. ![]() During such a transitory process we are dissected and disassembled -at a point in time you become the last you, and perhaps the last version of humanity in a machine-driven world. Utilizing the 21stcentury’s cultural paranoia surrounding the uncertainty of rapid developments in artificial intelligence, the portrait serves as an allegory for an individual’s depersonalization at the liminal threshold between one era and the next, where unfulfilled youth is given little time to comprehend the advancing stage of adulthood. The corporeal naturalism of carrion birds’ scavenging cycles is intermingled with machinery, delineating an alternate reality where technology is ingrained within ecology, where a subtly roboticized murder of crows consume the mechanical viscera of the human figure. Waverley Christian College, Wantirna South Lowther Hall Anglican Grammar School, Essendon Swinburne Senior Secondary College, Hawthorn Princes Hill Secondary College, Carlton North Princes Hill Secondary College, Princes Hill ![]() Victorian College of the Arts Secondary School, Southbank ![]() St Pauls Anglican Grammar Schoor, Warragul
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