Simon Attard
The deconstruction of the very nature of painting is an essential element within the dialogue of making my work. This deconstruction has led to the idea of appropriation, where three paintings by the Dutch Master Vermeer have been recontextualised and distorted to create a pseudo-reality. The inverted paintings explore the dystopic landscape of our technology-driven, consumerist culture, and provoke an invitation to think anew of an already accepted reality.
Questions of authenticity, originality and representation are apparent within the chosen imagery, which within itself is loaded toward the art historical canon.
This combined effect is manifest in hyper-stimulation: a web of visual references is spun across the canvas, connecting iconic cultural history with the contemporary world around us.
In ‘The Milkmaid’, references towards our perceptions are constructed significantly by the milk turning sour as it is poured from the vessel of history into the vessel of now.
attardiii@hotmail.co.uk
Questions of authenticity, originality and representation are apparent within the chosen imagery, which within itself is loaded toward the art historical canon.
This combined effect is manifest in hyper-stimulation: a web of visual references is spun across the canvas, connecting iconic cultural history with the contemporary world around us.
In ‘The Milkmaid’, references towards our perceptions are constructed significantly by the milk turning sour as it is poured from the vessel of history into the vessel of now.
attardiii@hotmail.co.uk
'The Milkmaid'
Oil on Canvas 103 x 80 cm