Natasha Michaels | Bluff
Monotype
Image size: 55 cm x 40 cm
Paper size: 55 cm x 40 cm
Unique
£1100 unframed or £110 per month via Own Art. Contact rebecca@woolwichprintfair.com to request an application or more information.
In traditional depictions of Leda and the Swan the violence is cloaked in romance, a myth made palatable or even desirable. In this version, the gestural movement , the drag, and the smear , interfere with a simple transcription of the original image. The violence becomes imbedded in the medium. The venetian red and pink is a visceral reminder of both flesh and force. The fluid messiness suggests not a unity of mortal and deity but a merging that resists the comfortable consumption that the original was intended for. It asks the viewer to reconsider what has always been hidden under the surface of myth and art.
The origins of Natasha Michaels recent monoprints lie in historical paintings from the renaissance to the 19th century. Exploring and reinterpreting traditional conventions and genres, Michaels’ work is an investigation of her own ambivalence towards the originals. At once subverting and celebrating, she uses her own expressive language to recast and redirect the sitters, reimagining them as fictional characters .
Playfully undermining the originals with a simple cartoonish change of their features, the figures appear interrupted from their original purpose, They are often lost in thought , self-conscious or uneasy; as if the original painter has stopped painting for a moment and they have been caught in a moment of uncomfortable introspection.The subjects can appear anxious or perplexed as Michaels plays with ideas of power , gender and artifice. directing the viewer to consider their status.
Michaels process adds to this unstable mutant world. Beginning with the reversal of the original image. Gestural brushstrokes, slips and smears combined with the sharp boundaries of the cut alluminium plates reveal strange chimeras on the paper . Unsettlingly recognisable yet unfamiliar , they hover between high art and pop culture. Michaels makes multiple versions of each print as if engaged in a conversation with the original sitters and the emerging versions of themselves.
Monotype
Image size: 55 cm x 40 cm
Paper size: 55 cm x 40 cm
Unique
£1100 unframed or £110 per month via Own Art. Contact rebecca@woolwichprintfair.com to request an application or more information.
In traditional depictions of Leda and the Swan the violence is cloaked in romance, a myth made palatable or even desirable. In this version, the gestural movement , the drag, and the smear , interfere with a simple transcription of the original image. The violence becomes imbedded in the medium. The venetian red and pink is a visceral reminder of both flesh and force. The fluid messiness suggests not a unity of mortal and deity but a merging that resists the comfortable consumption that the original was intended for. It asks the viewer to reconsider what has always been hidden under the surface of myth and art.
The origins of Natasha Michaels recent monoprints lie in historical paintings from the renaissance to the 19th century. Exploring and reinterpreting traditional conventions and genres, Michaels’ work is an investigation of her own ambivalence towards the originals. At once subverting and celebrating, she uses her own expressive language to recast and redirect the sitters, reimagining them as fictional characters .
Playfully undermining the originals with a simple cartoonish change of their features, the figures appear interrupted from their original purpose, They are often lost in thought , self-conscious or uneasy; as if the original painter has stopped painting for a moment and they have been caught in a moment of uncomfortable introspection.The subjects can appear anxious or perplexed as Michaels plays with ideas of power , gender and artifice. directing the viewer to consider their status.
Michaels process adds to this unstable mutant world. Beginning with the reversal of the original image. Gestural brushstrokes, slips and smears combined with the sharp boundaries of the cut alluminium plates reveal strange chimeras on the paper . Unsettlingly recognisable yet unfamiliar , they hover between high art and pop culture. Michaels makes multiple versions of each print as if engaged in a conversation with the original sitters and the emerging versions of themselves.
Monotype
Image size: 55 cm x 40 cm
Paper size: 55 cm x 40 cm
Unique
£1100 unframed or £110 per month via Own Art. Contact rebecca@woolwichprintfair.com to request an application or more information.
In traditional depictions of Leda and the Swan the violence is cloaked in romance, a myth made palatable or even desirable. In this version, the gestural movement , the drag, and the smear , interfere with a simple transcription of the original image. The violence becomes imbedded in the medium. The venetian red and pink is a visceral reminder of both flesh and force. The fluid messiness suggests not a unity of mortal and deity but a merging that resists the comfortable consumption that the original was intended for. It asks the viewer to reconsider what has always been hidden under the surface of myth and art.
The origins of Natasha Michaels recent monoprints lie in historical paintings from the renaissance to the 19th century. Exploring and reinterpreting traditional conventions and genres, Michaels’ work is an investigation of her own ambivalence towards the originals. At once subverting and celebrating, she uses her own expressive language to recast and redirect the sitters, reimagining them as fictional characters .
Playfully undermining the originals with a simple cartoonish change of their features, the figures appear interrupted from their original purpose, They are often lost in thought , self-conscious or uneasy; as if the original painter has stopped painting for a moment and they have been caught in a moment of uncomfortable introspection.The subjects can appear anxious or perplexed as Michaels plays with ideas of power , gender and artifice. directing the viewer to consider their status.
Michaels process adds to this unstable mutant world. Beginning with the reversal of the original image. Gestural brushstrokes, slips and smears combined with the sharp boundaries of the cut alluminium plates reveal strange chimeras on the paper . Unsettlingly recognisable yet unfamiliar , they hover between high art and pop culture. Michaels makes multiple versions of each print as if engaged in a conversation with the original sitters and the emerging versions of themselves.
