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Loren Orsillo is an emerging painter who lives and works in Adelaide. Her painting practice homogenises the materials of painting with readymade objects to occupy the precarious niche that lies somewhere in-between historical concerns of painting and narratives of the ‘wider world’. Objects sourced from home, street, second-hand store and supermarket alike are amalgamated with paint, canvas and stretchers to form new compositions that fracture and recontextualise the narratives intrinsic to the materials.
In a visual language that is locked in conflict between sincerity and sarcasm, these works examine the subjective and inconsistent measures of value placed on objects of our daily peripherals. They act out a duel between irreverence and sentimentality within the boxing-ring of the canvas stretcher; earnest in intention, yet inevitably riddled with a sense of the absurd.
Loren Orsillo is an emerging painter who lives and works in Adelaide. Her painting practice homogenises the materials of painting with readymade objects to occupy the precarious niche that lies somewhere in-between historical concerns of painting and narratives of the ‘wider world’. Objects sourced from home, street, second-hand store and supermarket alike are amalgamated with paint, canvas and stretchers to form new compositions that fracture and recontextualise the narratives intrinsic to the materials.
In a visual language that is locked in conflict between sincerity and sarcasm, these works examine the subjective and inconsistent measures of value placed on objects of our daily peripherals. They act out a duel between irreverence and sentimentality within the boxing-ring of the canvas stretcher; earnest in intention, yet inevitably riddled with a sense of the absurd.
Prelude to the Great Storm (Idle as a Painted Ship Upon a Painted Sea)
Second-rate Beethoven
Vampire Nails