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Sleeping Dogs - rose quartz version Drawing

Arlette Ess

United Kingdom

Drawing, Ink on Paper

Size: 27.6 W x 27.6 H x 0 D in

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113 Views
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About The Artwork

Dogs with soft hues of blue and khaki green on a light dusty pink background. The original 'Sleeping Dogs' is black and white only, a large very detailed drawing assembled from individual pen and ink drawings. The dogs vary greatly, each one has a different texture of fur, is from a different breed or a mongrel, has a different character and pose. All together they form a unified landscape of dogs interwoven as a pattern. I chose a rather flat and finely textured appearance, resulting in a certain balance between them looking ‘real’ and ‘unreal’ at the same time. The drawing is inspired and influenced by various experiences and mythologies.
 The actual drawings are derived from very different dogs: many from sleeping street dogs I encountered on travels, others are inspired by beloved pets of friends or unknown darlings i found online. But I was trying to create a new identity for every dog (I believe the attempt to copy anything inevitably fails). Dogs enjoy a rich mythological history. The dog has long been viewed as a liaison between the physical and non-physical dimensions. Ancient Egyptians, Greeks, Romans, Celts and Aztecs all have prescribed the dog as a sacred guardian of the Otherworlds. Well-known examples are Cerberus, the three-headed dog guarding the entrance to Hades, the greek mythological underworld, and Anubis, the ancient egyptian dog- or jackal-headed god in charge of the transition to the Afterlife. Xoltl, the Aztec god of death and the setting sun had a dog’s head and led the sun through the nocturnal underworld, to be reborn with it at dawn. Besides this powerful association with death and transition, as a symbol the dog often stands for loyalty, friendship, guardianship, protection and communication. But the drawing also relates to the contemporary place which dogs occupy in the lives of humans. Dogs are man-made animals. We coexist with them almost everywhere, and have been throughout most of our recorded history.
We breed them as helpers, friends, tools or weapons. A dog can be someone's best friend and someone else's worst insult. (The female dog is an insult even for dog-lovers - she is the bitch). We may love dogs like family members, test chemicals on them, eat them, make them find explosives and people, have them guard premises and intimidate others, keep our sheep in check, pull our sledges, help us hunt, diminish our loneliness or act as fashion accessories. We use them, abuse them or spoil them. 
If they live in the streets, we may feed them, befriend them, ignore them or shoot them. Their faithfulness and respect towards humans makes dogs bear almost anything we inflict on them. The dog may be a mirror to us human beings - reflecting our diversity of values, how we treat each other, and our inconsistency as individuals and as a species. This allegorical relationship is ingrained in many popular cliches in various languages, some english examples are the underdog, a dog's life, dog eat dog.
 And… to let sleeping dogs lie may be a wise thing to do, or just pure cowardice, depending on the circumstances.

Details & Dimensions

Drawing:Ink on Paper

Original:One-of-a-kind Artwork

Size:27.6 W x 27.6 H x 0 D in

Shipping & Returns

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.

"I'm looking at our perpetual search for meaning. 'The nature of things' is elusive, since the universe and our existence consist of many more dimensions than we can rationally comprehend or even experience. To fill this knowledge gap we rely on image and myth, which seem to contain bits of 'truth' resonating with something deep within us. I believe we can access a shared collective identity through image and myth, and all our perceived cultural differences are merely a varnish further obscuring the bigger picture. I'm mining images, mythologies, shapes of nature or scientific theories for connections and deeper layers of meaning. With drawing I'm trying to create a possibility for fragments of 'universal' concepts to surface, be it through figurative content or its abstract textures. By obsessing over structures and intricate details I think the veil may be thinning, yet all the while I'm conscious of only deepening the mystery. There may be no truth and no untruth found anywhere, because our capacities just don't stretch as far as to see the big picture. (This idea should make us feel fundamentally free and discard any conflicts based on ideology or faith, the idealist in me whispers)." Originally I'm from Switzerland, I'm based in London since 2003. After finishing my degree I worked at Alexander McQueen for a bit as a print designer. My artwork and design has been exhibited widely, including with artists such as Jamie Reid and Grayson Perry (Anatomy, the Cob Gallery London, 2011).

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