Saville's Artifacts

Illustration // Monday, 26 Nov 2012
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In recent years, Saville has explored the surreal origins and mysterious forms of human remains, geology and archeology. Her work looks both at the process of making drawings and the material used to achieve it. Saville's preferred sources are often photographs from scientific or archaeological textbooks. Purely documentary and non-subjective in their approach, these images catalogue an archive of curled and gnarled human phenomena, also often the victims of bizarre and intriguing sacrificial murders.

"I have always been interested in images and objects with a dual quality, that both frighten and comfort. I am looking for a residual fragment of something, an event or object that could have held spiritual, religious or scientific importance. 

I approach my work through the materials, my studio practice is varied, encompassing instinctive play with intense drawing sessions which explore detail and repetitive gestures. I am exploring surfaces and patterns and their relationship to an image. I use both traditional materials and processes such as oil painting and etchiing but am also drawn to using domestic materials such as biros and bleach, taking them out of the context of the everyday and re-introducing them with a renewed vigour and ambition."

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Saville's preferred sources are often photographs from scientific or archaeological textbooks. Purely documentary and non-subjective in their approach, these images catalogue an archive of curled and gnarled human phenomena, also often the victims of bizarre and intriguing sacrificial murders.
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“I am interested in the universality of these objects, There is a beauty and brutality in these photographs which i am hoping to re-examine", Saville suggests her response is an imitation of nature, yet translated through her own analysis of the subject and its form.

In the most recent show 'The World, The Flesh and The Devil' Instead of tangible subjects, it was the areas beyond or behind the recognizable form that she wanted the viewer to become absorbed in subconsciously, as a prelude to deeper interaction with the work.

The works engage on a visceral and emotional level over what is first seen by the eye, it is about the whole experience.

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