moe

Trainor

Dragonfly

Boys

Chambers

Journey

McIntyre

Titere

Moe Zoo

HOME

CHAMBERS  2010-2015

Digital print is  15" x 19"

archival ink on archival paper

CHAMBERS - ARTIST STATEMENT

Twenty-five cement rooms are used metaphorically as blank slates that form the canvas for this body of work. Mavourneen has filled these rooms with images inviting the viewer to contemplate expressions of female identity and ageing.  She encapsulates the space with her imagination to create playful dream states, hallucinogenic and nightmarish scenes to serve as vehicles that express burdens of choice and states of mind from grief and anxiety to tranquil silence and humour.

Digital art has allowed her to transpose iconic images from art history to enrich symbolism. References to fairytales, folklore, literature and poetry also cultivate dialogue involving the viewer to deconstruct content.  For example, in Mavourneen’s Unforseen, Giotto’s angels from his 13th Century fresco Lamentation show unrelenting grief as lighting strikes, reverberating pain and grief to a loved on. In Hot Flash the women in Matisse’s painting Dance 11 from 1910, embrace the hot flash with such fervour that they break the glass ceiling that seals the top of the chamber.

There were two challenges to this body of work for Mavourneen, one was to conquer the pictorial illusion, bending and manipulating multiple stagnant images to fit the perspective of the chambers, and the other was to take you on a walk through her waking dream.

 

CHAMBERS - ARTIST STATEMENT

Twenty-five cement rooms are used metaphorically as blank slates to form the canvas for this body of work. Mavourneen has filled these rooms with images inviting the viewer to contemplate expressions of female identity and ageing.  She encapsulates the space with her imagination to create playful dream states, hallucinogenic and nightmarish scenes to serve as vehicles that express burdens of choice and states of mind from grief and anxiety to tranquil silence and humour.

Digital art has allowed her to transpose iconic images from art history to enrich symbolism. References to fairytales, folklore, literature and poetry also cultivate dialogue involving the viewer to deconstruct content.