- WELCOME TO THE GLASS CABINET -

ABOUT THE WORK

Through my study of humanity's artistic & social presence in the 19th century, an irony about us began to emerge... Seeking some higher state of being & looking to Greek philosophy, the 1900's man of means began to dot his estate inch by inch with the Neoclassical. As English Baroque’s opulence faded from fashion, a simplified form of Palladian-inspired structures arose all over the country in the birth of the Regency & we saw our red brick & Tudor wood beams coated with smooth Palladio-proportioned columns & bright white spaces. We had begun adding icing to a heavily matured cake & one of the best ways for a gentleman to boast his attributes, was to commission the finest artists of the time to create depictions of their inherited slice of eden. These gilt segments of greenery were cut & hung in their stately homes, making them temple-like & by way of art, inspiring aw, but in setting these painted treasures in to their manor houses, like jewels in a crown, they consciously placed themselves, god-like above nature & this air of conquering & enjoying the fruits of nature echoes in everything from furnishings to food. Instead of representing, seeking & appreciating true beauty, what seemed a creative revolution quickly folded in on itself & began to simply represent a restricted definition which allowed for a soullessness & lead the heart of a generation to a dead end & instead of a rebirth of that ancient greek idea, we fell in to the melting pot of heavy Victorian ornament & obsession, a well designed cloak over a dirty pile of clutter, concluding with that Dickensian contrast of lifestyles that became the later half of the century, ultimately showing that little progress had been made.

My artworks ponder the theory that, if we had - in the midst of this failed attempt at a new greatness, been punished by nature & cut off from it… if whilst industry began to cut through the landscape - nature began to poison us in return. Where would our resources have turned in technology, religion & lifestyle, if our highest priority were to suddenly become our desperation to return to a symbiosis with nature? 

In this alternate timeline, strange forms of wicca merge with technology to enable man to experience nature - leaving him frustrated - without the breeze on his cheek, or the freedom to wonder lowly as a cloud... 

OTHER INFORMATION

HOW DO THE VARIABLE PRINTS WORK?

I spend hours working traditionally shading & then digitally tidying & prepping the scenes, into which I then hand finish each edition with varying sets of 'add-on's.... These are tiny additional prints, inspired mostly by children's pop-up books & by antique medical prints with removable parts, revealing anatomical layers down to bone. This variance not only tells a different story & sets a different mood about the little worlds I create in each version. 

Each tiny variable print is also numbered & an artillery of each variable used comes signed & dated with all of my work. 

HOW DO STOCK LEVELS WORK & WHERE CAN I BUY A PIECE?

If you visit the Prints page, you can click on a print to see more about it & buy. 

 

You can find my works at 

- The Pyramid Gallery, York. https://www.pyramidgallery.com

Up & coming exhibitions 

HAVE A QUESTION/ REQUEST? - You can email the address in the menu with enquiries Mon-Fri. I can reply 8-10 A.M & 4-6 P.M, I am out of my office

I try to keep stock lists updated all the time - Occasionally a gallery will not have time to notify me right away when a piece ha sold & so every now & then an alternative may have to be sourced from either my web store or another stockist. 

All designs, photographs & other content is copyright S.J.Somers Art 2018©