Katie Eleanor

Hand coloured print Portrait detail of a devil creature immobilised in marble

2019

Hand-coloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo...

Handcoloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo’s desire. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: Daphne II...

Katie Eleanor, ‘Your Hand, Your Tongue III’, 2017 Hand-coloured portrait of a regal monarch, immobilised in marble, her reigning celebrated the blooms she becomes entwined in. The characterisation is inspired by visual depictions of Lady Macbeth, in particular, John Singer Sargent’s 1889 portrait of actress Ellen Terry. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: 'Your Hand, Your Tongue’, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

Handcoloured portrait of otherworldly lovers, immobilised in marble, dancing in blooming meadows. A whimsical tale of adoration, Ursa and her spiritual partner take visual cues from Titania and Bottom in Dieterle and Reinhartd’s 1936 interpretation of A Midsummer Nights Dream. Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux’s 1947 Le Musee Imaginaire (Museum Without Walls). Original title: URSA LOVES YOU, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

In 2012, along with Adams’ completion of his 42 minute video Malraux’s Shoes, he was simultaneously referencing his own extensive library and archive documenting the intellectual climate of the 1960s. Entitled Tagging the Archive, this suite of 24 text pieces are montaged over revolutionary ephemera from the 60s as well as book covers such as Abbie Hoffman’s Steal this Book (1971), Franz Erhard Walther’s Objekte, benutzen (1968), Jean Luc Godard’s Le Petit Soldat, Claude Levi Strauss’s Tristes Tropiques, Henry Miller’s Black Spring, and others. This was Adams’ opportunity to formulate a critical dialogue filled with ambiguous clues. Juxtaposed against forerunners such as Broodthaer’s Departement des Aigles (1968-72), or Aby Warburg’s Mnemosyne Atlas (1866-1929), or Malraux’s Le Musee Imaginaire, or Richard Prince’s extensive personal library of vintage pulp...

The Drugs Don’t Work By BATIK Archival pigment pop art print of the 1960s supermodel Twiggy signed & limited edition. BATIK is a London based fine artist and image maker. Produce...

Fun Loving Criminals By B A T I K Signed Limited Edition Archival pigment pop art print of infamous criminal arrest mugshots of Fifty Cent, Elvis Presley, David Bowie, Snoop Dogg...

Cherry Kate By BATIK- Signed Limited Edition Artwork of the supermodel Kate Moss Made and signed by London based pop artist BATIK. Produced from the o...