Stephanie Burns with Laurence Fuller, Danny Pratt and Coco Pops Llloyd at the opening of Elysium Verto in Los Angeles March 2018.
ELYSIUM VERTO Exhibition Part I: We had a brilliant turn out over the weekend, the place was full of artistic folk discussing and celebrating art.
“An actor friend told me recently that I maintain a kind of stoic position to life in spite of it all, I feel in full consideration of the moment of death it becomes very difficult not to value the preciousness of life. “It is not death that a man should fear, but he should fear never beginning to live” – Marcus Aurelius. Bacon had much the same outlook when he suggested to David Sylvester that life life is so much sweeter to this who walk in the shadow of death because it can be taken away at any moment.
This raw animalistic instinct that Bacon’s work comes from is an expression of the vulnerability of people to their own nature and to nature itself, that our adaptation came not from our own design but by natures design for us, we adapted to this world, guided by our desires and our fears and impressions of feeling that we leave look like glimmers and ghosts.“ Laurence Fuller
“When she transitioned to the brush it was an event, not just because her sculpture had become rarer still, but because it was a reshaping of her vision into a new medium. The landscapes and natural Australian forms of her past now took their shape in pigment and movements of color. Following on from the post-impressionists and the fine art tradition pursuing man and woman’s search for beauty.
These new flower paintings, not unlike Bacon, are almost figurative pieces, the flower represented in its singularity as having a personality. When Van Gogh painted his flowers he was said to be painting at the manic rate of around three paintings a day, in all states of blossoming and wilting, on the edge of death, grasping onto the preciousness of life. The way these two artists see the world comes out in this same kind of paradox, this obsession with life and death fuels them to master their craft. For Burns these flowers have a life beyond a pleasing decorative object, but a part of this ecosystem, and more like something fundamental to our planet. That is both fragile, necessary and constantly changing.” Laurence Fuller read more…
Laurence Fuller with Richard Jordan