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The abrupt moment in time, of energy and of chance are captured in the characteristics of what appears to be splattered paint. However look closer and this contradicts with the carefully and cunningly planned, labour intensive act of embroidery with which the paint has been created, juxtaposing notions of the intentional and accidental, the controlled and the spontaneous, the premeditated and the impulsive. Defacing the painting with stitch, an activity normally perceived as a gentle, passive and even benign pastime, aims to elevate the embroidery as dominant foreground and push the traditionally painted composition to the background; a playful nod to the status and power of textile art within the world of fine art, opening up questions of how we value objects and art.

Expressed through a dark and slightly anarchic sense of humour my work touches upon feminist issues and the fashionability of craft and textile art. These concerns are explored and translated through the use of stitching into oils and acrylics on canvas.
I enjoy playing with bold colour, linear forms and texture. The process of fast loose and spontaneous mark making combined with controlled and carefully executed acts of defacement with stitch. The layering of different mediums are key to my work, parts are hidden or revealed, pushed back or brought to the surface, they reflect the hidden and overlooked aspects of our culture, making way for the recognition of the precarious balance of contemporary society.
The abrupt moment in time, of energy and of chance are captured in the characteristics of what appears to be splattered paint. However look closer and this contradicts with the carefully and cunningly planned, labour intensive act of embroidery with which the paint has been created, juxtaposing notions of the intentional and accidental, the controlled and the spontaneous, the premeditated and the impulsive. Defacing the painting with stitch, an activity normally perceived as a gentle, passive and even benign pastime, aims to elevate the embroidery as dominant foreground and push the traditionally painted composition to the background; a playful nod to the status and power of textile art within the world of fine art, opening up questions of how we value objects and art.

Expressed through a dark and slightly anarchic sense of humour my work touches upon feminist issues and the fashionability of craft and textile art. These concerns are explored and translated through the use of stitching into oils and acrylics on canvas.
I enjoy playing with bold colour, linear forms and texture. The process of fast loose and spontaneous mark making combined with controlled and carefully executed acts of defacement with stitch. The layering of different mediums are key to my work, parts are hidden or revealed, pushed back or brought to the surface, they reflect the hidden and overlooked aspects of our culture, making way for the recognition of the precarious balance of contemporary society.
The abrupt moment in time, of energy and of chance are captured in the characteristics of what appears to be splattered paint. However look closer and this contradicts with the carefully and cunningly planned, labour intensive act of embroidery with which the paint has been created, juxtaposing notions of the intentional and accidental, the controlled and the spontaneous, the premeditated and the impulsive. Defacing the painting with stitch, an activity normally perceived as a gentle, passive and even benign pastime, aims to elevate the embroidery as dominant foreground and push the traditionally painted composition to the background; a playful nod to the status and power of textile art within the world of fine art, opening up questions of how we value objects and art.

Expressed through a dark and slightly anarchic sense of humour my work touches upon feminist issues and the fashionability of craft and textile art. These concerns are explored and translated through the use of stitching into oils and acrylics on canvas.
I enjoy playing with bold colour, linear forms and texture. The process of fast loose and spontaneous mark making combined with controlled and carefully executed acts of defacement with stitch. The layering of different mediums are key to my work, parts are hidden or revealed, pushed back or brought to the surface, they reflect the hidden and overlooked aspects of our culture, making way for the recognition of the precarious balance of contemporary society.
detail of gold stitch, embroidered directly into the painting

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View In My Room

Dripping In It #1 Painting

Kelly Jenkins

United Kingdom

Painting, Acrylic on Canvas

Size: 29.5 W x 43.3 H x 1.6 D in

Ships in a Box

SOLD
Originally listed for $2,040

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ABOUT THE ARTWORK

The abrupt moment in time, of energy and of chance are captured in the characteristics of what appears to be splattered paint. However look closer and this contradicts with the carefully and cunningly planned, labour intensive act of embroidery with which the paint has been created, juxtaposing notions of the intentional and accidental, the controlled and the spontaneous, the premeditated and the impulsive. Defacing the painting with stitch, an activity normally perceived as a gentle, passive and even benign pastime, aims to elevate the embroidery as dominant foreground and push the traditionally painted composition to the background; a playful nod to the status and power of textile art within the world of fine art, opening up questions of how we value objects and art. Expressed through a dark and slightly anarchic sense of humour my work touches upon feminist issues and the fashionability of craft and textile art. These concerns are explored and translated through the use of stitching into oils and acrylics on canvas. I enjoy playing with bold colour, linear forms and texture. The process of fast loose and spontaneous mark making combined with controlled and carefully executed acts of defacement with stitch. The layering of different mediums are key to my work, parts are hidden or revealed, pushed back or brought to the surface, they reflect the hidden and overlooked aspects of our culture, making way for the recognition of the precarious balance of contemporary society.

DETAILS AND DIMENSIONS
Painting:

Acrylic on Canvas

Original:

One-of-a-kind Artwork

Size:

29.5 W x 43.3 H x 1.6 D in

SHIPPING AND RETURNS
Delivery Time:

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

I create vibrant and tactile, abstract paintings that marry together highly detailed embroidery with fine art painting techniques. Strong and free, unique and spontaneous, elegant and anarchic, this is the message I hope to convey in my work. Playful, organic forms, harmonious yet bold colours, are stitched into with dynamic embroidery compositions, that are stripped back to just a pure line, stroke, splatter or scribble - the basic, fundamental acts of mark making; spontaneous and intuitive. Recreated in stitch they become considered and premeditated. I’m inspired by everyday life stuff; Snippets of conversations, lyrics from songs, memories of people and places I’ve been. They all reflect notions of impulse, chance, spontaneity and emotion; I aim to document or capture a fleeting glimpse of these through paint and embroidery; a continuous thread running through my work is to live in the moment. My contemporary painting style draws loose inspiration from the drama and light of Impressionism and Romanticism, to the decorative curves, scrolls, colours and sensuality of Rococo Art, combined with elements of graffiti and notions of erosion and vandalism. The impetus for my embroidery is fuelled by my love of texture and stitch, I simply don’t feel a painting is real or complete until it’s got some sort of stitch in it!. The embroidery’s playful, darker side touches upon the historical and political landscape of textile art, its status and place in fine art and the stereotypes that surround it. Hence my embroidery is always ‘on top’, elevating its status as the dominant medium in my paintings. I prefer to create each painting from memory, enabling me to produce images that are more abstracted and expressional interpretations of my memories. Each piece evolves through a highly contrasting, two-stage process; the first is with an intuitive, energetic and spontaneous approach to paint my ‘memory-scapes’. I throw, scrape, scratch, wipe, roller, spray and splatter paint onto canvas. Very rarely do I pick up a brush! I paint with oils, acrylics , spray paint and pastels. The second stage is followed by a more controlled approach, with many labour intensive hours of carefully planned embroidery; a free-style machine embroidery technique where I use a sewing machine to ‘draw with stitches’ directly into the painted canvas.

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