Handcoloured portrait of a weeping martyr, immobilised in marble, carved into a traditional bust. The phenomena of statues weeping by supernatural means has called to Catholic pilgrims for hundreds of...
Handcoloured portrait of a weeping martyr, immobilised in marble, carved into a traditional bust. The phenomena of statues weeping by supernatural means has called to Catholic pilgrims for hundreds of years; Instead, here the artist wishes to reflect on the gut-wrenching empathy for such pained figures that primarily drew her to explore this series of work.
Taken from The Sialia Marbles, a series of portraits containing ephemeral human sculptures taken between 2016-19. Together these works act as tales contained in a fictional sculpture hall, in direct reaction to Andre Malraux's 1947 Le Musee Imaginaire (Museum Without Walls).
During the beginning of the 'Museum Age' in the 18th century , writer Johann Wolfgang Von Goethe discussed mythical sculpture as living in a world where they 'reign in splendid isolation' (On the Laocoon Group, 1798); a description which sings in melody with the dissociative nature of the artist's mind. In reaction, Eleanor casts stories in a form of fictional rigor mortis, through the symbolic reference to the weight and endurance of marble sculpture. Tableau's react only within themselves: anatomist studies corpse, a creature is hunted, angels embrace the sanctuary of one another. Within the anthology, Eleanor's own fragments of visual tales are complemented by visual references to characters (and their artists) who have become beautiful stains on her own visual tapestry.