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Oil stick and graphite powder on Arches paper, 52 x 42 inches (132.1 x 106.7 cm)
website: pamelaspeight.com/
"Unacknowledged" is one of is a series of eight oil stick and graphite powder drawings titled "Alterity", a philosophical term meaning “otherness”. It refers to the principle of exchanging one's own perspective for that of the other.
Each of the Alterity drawings' main character is a dog. Dogs are perhaps our closest companions in the animal realm. They symbolize a wildness that, regardless of the degree of their domestication, they have to some extent retained of their original, "untamed" nature. The drawings are also populated with additional animal and human forms. There are other elements present too, such as weather (rain), bodies of water, chromosome X-shapes and dotted lines. Each image also contains a word or a line of text that relates to an awareness, or lack thereof, of our intrinsic relationship with animals and, more broadly, the environment as a whole.
Human relationships with animals are complex and varied. We often view them through our own lens, as though they exist in relation to our needs or compete with us for space and resources. Like them, we began in "wilderness", but we humans have evolved into animals that are for the most part detached from cycles in nature. Many of us feel this loss acutely and strive to re-enter this wilderness. Is it possible to co-exist with animals and see them as part of ourselves, yet honor them as unique and mysterious others?
Oil stick and graphite powder on Stonehenge paper, 16 x 16 inches (40.6 x 40.6 cm)
website: pamelaspeight.com/
This series consists of twelve oil stick and graphite powder drawings on primed Stonehenge paper. Each image depicts an animal considered "invasive" in the bio-region in which I live. While working on them I felt that the bright oil stick colors were too "pretty" and made the animals look overly cute. I wanted them to have a more shadowy presence to reflect our ambiguous relationship with them, which the layer of graphite powder added. There are numerous introduced species that flourish uncontrollably, to the detriment of indigenous animals and plants, because natural predators or other constraints are few or non-existent. We make every attempt to reduce their numbers, but they have learned to adapt and thrive in the environments we have constructed. Often referring to them as nuisance species or carriers of disease, they seem to exist in the darker, murkier places that inhabit our subconscious. However, the idea that they are entirely "bad" may be misplaced, especially when we overlook our own role in their transport, either intentionally or unintentionally, on our various migrations across the planet. Like us, they are driven to survive.
Oil stick and graphite powder on Stonehenge paper, 16 x 16 inches (40.6 x 40.6 cm)
website: pamelaspeight.com/
This series consists of twelve oil stick and graphite powder drawings on primed Stonehenge paper. Each image depicts an animal considered "invasive" in the bio-region in which I live. While working on them I felt that the bright oil stick colors were too "pretty" and made the animals look overly cute. I wanted them to have a more shadowy presence to reflect our ambiguous relationship with them, which the layer of graphite powder added. There are numerous introduced species that flourish uncontrollably, to the detriment of indigenous animals and plants, because natural predators or other constraints are few or non-existent. We make every attempt to reduce their numbers, but they have learned to adapt and thrive in the environments we have constructed. Often referring to them as nuisance species or carriers of disease, they seem to exist in the darker, murkier places that inhabit our subconscious. However, the idea that they are entirely "bad" may be misplaced, especially when we overlook our own role in their transport, either intentionally or unintentionally, on our various migrations across the planet. Like us, they are driven to survive.
Oil on Stonehenge paper, 30 x 22 inches (76.2 x 55.9 cm)
Website: pamelaspeight.com/
Attachment Object One, Two and Three are a group of images based on rusted metal industrial relics found while digging in the garden, rather beautiful in their simplicity of form and function. They are the cast-offs of previous inhabitants, much like artifacts unearthed during an archaeological excavation. These particular objects were large, sharp nails or tools used to join one material to another. The title of this series is also a metaphor for our infatuation with things, our addiction to outcomes, and the detritus we may unwittingly leave behind.
Oil on Stonehenge paper, 30 x 22 inches (76.2 x 55.9 cm)
Website: pamelaspeight.com/
Attachment Object One, Two and Three are a group of images based on rusted metal industrial relics found while digging in the garden, rather beautiful in their simplicity of form and function. They are the cast-offs of previous inhabitants, much like artifacts unearthed during an archaeological excavation. These particular objects were large, sharp nails or tools used to join one material to another. The title of this series is also a metaphor for our infatuation with things, our addiction to outcomes, and the detritus we may unwittingly leave behind.
Oil stick and graphite powder on Stonehenge paper, 16 x 16 inches (40.6 x 40.6 cm)
website: pamelaspeight.com/
This series consists of twelve oil stick and graphite powder drawings on primed Stonehenge paper. Each image depicts an animal considered "invasive" in the bio-region in which I live. While working on them I felt that the bright oil stick colors were too "pretty" and made the animals look overly cute. I wanted them to have a more shadowy presence to reflect our ambiguous relationship with them, which the layer of graphite powder added. There are numerous introduced species that flourish uncontrollably, to the detriment of indigenous animals and plants, because natural predators or other constraints are few or non-existent. We make every attempt to reduce their numbers, but they have learned to adapt and thrive in the environments we have constructed. Often referring to them as nuisance species or carriers of disease, they seem to exist in the darker, murkier places that inhabit our subconscious. However, the idea that they are entirely "bad" may be misplaced, especially when we overlook our own role in their transport, either intentionally or unintentionally, on our various migrations across the planet. Like us, they are driven to survive.
Oil on Stonehenge paper, 30 x 22 inches (76.2 x 55.9 cm)
Website: pamelaspeight.com/
Attachment Object One, Two and Three are a group of images based on rusted metal industrial relics found while digging in the garden, rather beautiful in their simplicity of form and function. They are the cast-offs of previous inhabitants, much like artifacts unearthed during an archaeological excavation. These particular objects were large, sharp nails or tools used to join one material to another. The title of this series is also a metaphor for our infatuation with things, our addiction to outcomes, and the detritus we may unwittingly leave behind.
"Silent Growth" represents Duncan Rawlinson's intricate melding of AI and photography, a silent yet profound growth of digital flora from the depths of latent space, speaking volumes without a word.
A translucent geometric form hovers above a textured stone, suspended by fine supports and glowing with saturated magenta and orange. This surreal sculpture invites reflection on balance and the subtle relationship between structure and nature. This conceptual artwork was created by Duncan Rawlinson.
Artist Statement:
This image doesn’t scream. It simply exists and that is sometimes more terrifying. In a world that feeds on spectacle, walking in quietly while covered in blood says more than a scream ever could. This Lamb is not about vengeance. He’s about arrival. Not invited. Not deterred. He enters because he can and because no one stopped him.
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