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Katie EleanorSiren immobilised in marble locked in embrace and galleon ship in the background2019
2019
$780.79
$1,301.3140% Off
£570
£95040% Off
€671.71
€1,119.5240% Off
CA$1,072.85
CA$1,788.0840% Off
A$1,200.72
A$2,001.1940% Off
CHF 626.68
CHF 1,044.4740% Off
MX$14,642.55
MX$24,404.2640% Off
NOK 8,020.67
NOK 13,367.7940% Off
SEK 7,592.60
SEK 12,654.3340% Off
DKK 5,012.88
DKK 8,354.7940% Off
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About the Item
Handcoloured portrait of a conjoined siren, immobilised in marble, locked in a sisterly embrace. Inspired by 19th-century cabinet cards, medical illustration, sweet singing Scottish Selkies, Lyra and her sister defend each other's isolation.
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: 'Lyra’s Lips are as White as Mine’, 2019
Hand-coloured Archival Pigment Print on Hahnemuhle Photorag Fine Art Paper (100% cotton)
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 or even the Cottingley Fairies hoax. (...)
Photography and sculpture have such a loaded history together. " - Katie Eleanor
About the artist:
Katie Eleanor (b.1993) is a photographic artist living and working in London. She studied Photographic Arts at the University of Westminster, graduating in 2015.
Her practice revolves around illustrating enigmatic narratives that bridge the gap between fantasy and reality. Once she has a concept for her stories, she paints the performers, designs and makes the costumes, and creates the sets to photograph them.
Using analogue photography and contemporary printing techniques, the resulting black and white prints are then meticulously hand- coloured by the artist.
Katie's work has received press by The Royal Photographic Society, and her fashion stories have been published by magazines such as Hunger and Notion.
Her latest body of work, The Sialia Marbles, presented at MMX Gallery, was her second exhibition in the gallery and her first solo show.
Her work has been recently sold to numerous private art and photography collections.
- Creator:Katie Eleanor (1993, British)
- Creation Year:2019
- Dimensions:Height: 15.95 in (40.5 cm)Width: 12.01 in (30.5 cm)
- Medium:
- Movement & Style:
- Period:
- Framing:Framing Options Available
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU1967211834752
Katie Eleanor (b.1993) is a photographic artist living and working in London. She studied Photographic Arts at the University of Westminster, graduating in 2015. Her practice revolves around illustrating enigmatic narratives that bridge the gap between fantasy and reality. Once she has a concept for her stories, she paints the performers, designs and makes the costumes, and creates the sets to photograph them. Using analogue photography and contemporary printing techniques, the resulting black and white prints are then meticulously hand- coloured by the artist. Katie's work has received press by The Royal Photographic Society, and her fashion stories have been published by magazines such as Hunger and Notion. Her latest body of work, The Sialia Marbles, presented at MMX Gallery, was her second exhibition in the gallery and her first solo show. Her work has been recently sold to numerous private art and photography collections.
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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).
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