The Masterpiece / The Pension Plan
Latest images above – floral shapes representing abstract fears for the future – and not necessarily what you want, as a response to a collaboration with Camilla Nelson for Haverthorn Magasine. More information here: https://alicemccabeflowers.com/floralartgallery/ This work started as a response to books which feature struggling painters (eg. The Masterpiece or L’Oeuvre by Emile Zola) and commits to aspects of this sterotype of an artist’s creation of a masterpiece. and illusory despair / conviction shrouding a monumental breakthrough work and moment of recognised genius, I’d rather be guided through the collective creative realm following Virginia Woolf’s definition: “Masterpieces are not single and solitary birth; they are the outcome of many years of thinking in common, of thinking by the body of the people, so that the experience of the mass is behind the single voice.” (pg 78, tate issue 42, sping 2018) This work of art started in 2016 as a birthday present and joint pension plan for my friend see popsy-mag and seeks to be a joyous painting about female friendship, happiness and thrills of the process of making art. It is ongoing, collecting experience and drawing form memories to create keepers of these memories and visual language for them: it is developing a shrine like status with images within the painting referencing experiences drawn from 23years of friendship. Some of these have been symbolised into objects including keyrings, painted wire eucalyptus tree of dreams and fears, which will now be used as props to paint from. The main outlines, the newspaper flowers, orginate from the first backstage space of the Embodiment Cloakroom which we also operate together as a check-in for emotional baggage.
|  Haverthorn Final Image web |
