Katie Eleanor

Otherworldly lovers, immobilised in marble, Dancing in blooming Garden

2017

Katie Eleanor, ‘Your Hand, Your Tongue III’, 2017 Hand-coloured portrait of a regal monarch, immobilised in marble, her reigning celebrated the blooms she becomes entwined in. The characterisation is inspired by visual depictions of Lady Macbeth, in particular, John Singer Sargent’s 1889 portrait of actress Ellen Terry. 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). Original title: 'Your Hand, Your Tongue’, 2017 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

Handcoloured portrait of nymph Daphne, immobilised in marble, as she is transformed into a laurel tree. Birthed in Greek Mythology, Daphne is associated with bodies of freshwater and is an unwilling object of the god Apollo’s desire. 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). Original title: Daphne II...

Handcoloured portrait of a conjoined siren, immobilised in marble, locked in a sisterly embrace. Inspired by 19th-century cabinet cards, medical illustration, sweet singing Scottish Selkies, Lyra and her sister defend each other's isolation. 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). Original title: 'Lyra’s Lips are as White as Mine’, 2019 Hand-coloured Archival Pigment Print on Hahnemuhle Photorag Fine Art Paper (100% cotton) 40.5 x 30.5 cm Unique Series: The Sialia Marbles Signed and dated on verso "I’m not a sculptor, but I wanted to construct my own stories. Photographers have often used sculpture in order to challenge our idea of a “sculptural” body or object, by casting them in a two-dimensional light. I love playing with perception. A lot of my work is influenced by the nineteenth century—the pictorialist movement for instance. When photography was a new experiment, people would play around with perception tricks—Victorian paper theaters...

Katie Eleanor, "Cleansing a Shrike (Blackbird’s Birdbath)", 2018 Handcoloured portrait of a bird-like spirit, immobilised in marble, cleansing in a sprin...

Magnificent figurative sculpture in alabaster depicting a renaissance couple in the process of dancing

FERDINANDO VICHI Italian, (1875-1945) Lovers 22 1/2 inches high Notes: The finely carved Italian white marble sculpture of lovers surmounted ...

Large marble sculpture of an amorous couple by Antonio Frilli Italian, late 19th century Measures: Height 130cm, width 68cm, depth 46cm Thi...

Oil and graphite on canvas