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Helen Gorrill

About Helen Gorrill

About the artwork

I am starting to work on the female form again, and in this new work, re-drawing, re-imaging, re-representing or “vandalising” old masters studies of the female. The work is created from graphite, biro, spray paint, neon acrylic paint and collaged papers – the collage includes photographed graffiti, tattoos, jewellery and bodyparts cut out from the models of adult/porn magazines, and MAC lipstick together with pigment and Inktense.

The works are varnished and set within a bespoke gloss white frame with very broad white mount, to allow the work to project from the wall. Rather than transcribe the old masters, I wished to “vandalise” them in order to bring them to 2017 London. So rather than looking at a late 18th century Goya depicting a nude female, you're looking at a modern-day London girl.

The work also raises questions about the status of females in today's society. Rather than the possible cliche of giving old paintings new life, a new voice, in choosing to re-present these images, an artist in effect "silences" the old ones, overwriting their original intentions. In effect, these new updated mistresses have taken control of the original old master works.

Helen Gorrill New Mistresses: Goya's La Maja Desnuda ReDrawn (Old Masters Vandalised), 2017

£795.00
H 61 cm x W 96 cm x D 5 cm
More details
Mixed-Media
Original, Framed
Signed
Gallery:

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About Helen Gorrill

About the artwork

I am starting to work on the female form again, and in this new work, re-drawing, re-imaging, re-representing or “vandalising” old masters studies of the female. The work is created from graphite, biro, spray paint, neon acrylic paint and collaged papers – the collage includes photographed graffiti, tattoos, jewellery and bodyparts cut out from the models of adult/porn magazines, and MAC lipstick together with pigment and Inktense.

The works are varnished and set within a bespoke gloss white frame with very broad white mount, to allow the work to project from the wall. Rather than transcribe the old masters, I wished to “vandalise” them in order to bring them to 2017 London. So rather than looking at a late 18th century Goya depicting a nude female, you're looking at a modern-day London girl.

The work also raises questions about the status of females in today's society. Rather than the possible cliche of giving old paintings new life, a new voice, in choosing to re-present these images, an artist in effect "silences" the old ones, overwriting their original intentions. In effect, these new updated mistresses have taken control of the original old master works.

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