Michaela Purcell
Art or art, there is no no art.
ARTIST’S STATEMENT
Through both my painting and printmaking practice, I emphasize the value of vulnerability. My art practice is a meditation on concepts of domesticity and nostalgia, themes like childhood, the family structure, and the female experience. Much of my work deals with my experiences as a woman, both societally and as an artist. My practice is underpinned by my devotion to learning and researching feminist theory and art history, taking great aspirations toward artists like Judy Chicago and Tracey Emin.
I work to emphasize the importance of emotional authenticity, and its inextricable connection to the human experience. My current works explore the imagery of domestic spaces. Throughout this series, I confront preconceptions of high and low brow forms of expression. Taking stylistic influence from the pop art movement, I utilize overlapping flat facets of colour, simple line illustrations, and occasional accompanying text. The large areas of solid colour have nowhere to hide, bearing it all to the viewer — wobbly lines and brush strokes on full display. This intentional acceptance of human imperfection is my gesture of admiration to the fragility and idiosyncratic nature of emotion.
Art or art, there is no no art.
ARTIST’S STATEMENT
Through both my painting and printmaking practice, I emphasize the value of vulnerability. My art practice is a meditation on concepts of domesticity and nostalgia, themes like childhood, the family structure, and the female experience. Much of my work deals with my experiences as a woman, both societally and as an artist. My practice is underpinned by my devotion to learning and researching feminist theory and art history, taking great aspirations toward artists like Judy Chicago and Tracey Emin.
I work to emphasize the importance of emotional authenticity, and its inextricable connection to the human experience. My current works explore the imagery of domestic spaces. Throughout this series, I confront preconceptions of high and low brow forms of expression. Taking stylistic influence from the pop art movement, I utilize overlapping flat facets of colour, simple line illustrations, and occasional accompanying text. The large areas of solid colour have nowhere to hide, bearing it all to the viewer — wobbly lines and brush strokes on full display. This intentional acceptance of human imperfection is my gesture of admiration to the fragility and idiosyncratic nature of emotion.
