Auctions / To My Twenties / Doll's House

To My Twenties

21 OCT 2020 7:00 PM
Live Streamed Auction
To My Twenties - Lot 28, Emilie Fitzgerald, Doll's House
To My Twenties - Lot 28, Emilie Fitzgerald, Doll's House

28. Emilie Fitzgerald

Doll's House

Signed (on the reverse)
Oil and acrylic on canvas
121.9 x 91.4 cm.
Created in 2020

ESTIMATE

£1,200 - 1,800

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To My Twenties (28/48)

Notes

This painting was created during the recent lockdown and is a response to how it feels to be in your 20s during a global pandemic.

"I was thinking a lot about the idea of a house and particularly being confined to a house and the impact this has on people in their transitional years, leaving university, changing jobs, having to leave rented apartments to come back to their childhood home." - Emilie Fitzgerald, 2020. 

Through visual illusions and contrasting mixed languages, Emilie Fitzgerald’s work investigates the balance between subject-matter and surface-matter.

Using Winnicott’s theory of transitional phenomena, Emilie uses nostalgic and often kitsch imagery with reference to fairy tales and children’s stories, exploring themes of temptation, seduction and deception through symbolic food and landscapes.

Combining different visual languages in a pastiche approach to painting, Emilie often transcribes archetypal images from artists like Paul Cezanne, Salvador Dali and Matisse, contrasting these against Bob Ross landscapes and children’s illustrations as well as photography and digital art.

Emilie creates a level of visual ambiguity that questions what is real and what is artificial; what is found and what is created. In a layered, fragmentary approach to making, different ways of painting are combined to expose the materiality of the other, referencing artists such as David Salle and Laura Owens.

In her work, photorealism sits next to a painterly brush mark and texture is used to create a trompe l’oeil effect. Illusions bring the surface-matter to the forefront, reminding the viewer that even the photographic elements are still just paint, whilst the objects, of which the spectator can relate to, brings the focus back on to the subject. As a result, neither the subject-matter nor the surface-matter is privileged over the other

Accolades

BA Fine Art, City & Guilds of London Art School, 2019.

Awards: Winner of The Clyde & Co Art Award, London 2019.

Group Exhibition: Exceptional, Collyer Bristow Gallery, London 2019.

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