set I never had’… My pieces are collaged, embroidered, dyed, washed, steamed, burnt and washed again! Surprisingly, after all this, they are still very robust, because the ‘devoré’ process that I use a lot (Literally Devour when translated) leaves behind a polyester base, after the removal of the silk, linen, velvet, cotton etc …”

Works

 In Animoto I have created an 'animal' from the structure of a motorbike,
I studied the anatomy of many animals and found similarities in their ergonomical structures. Of course it is no accident that there are many references still found between man made forms of transport and animals  - hence 'horsepower', 'jaguar', etc.
The very term 'ride' implies that there is still an intimate relationship between man (or woman) and the machine.

In Make a Wish' the overall form of a dandelion is burnt away using the technique of 'dévoré' to reveal the flower structure behind.  The ingenious design of the 'helicopter' seed structure insures that they are blown far and wide, while also providing the opportunity on capturing them, to make a wish.....

In  Souvenirs du Japon I have continued to interpret the classical geisha image - paring it down still further into nearly abstract but recognizable shapes; the gestural marks also emphasize the contemporary qualities of ancient Japanese brushwork.

This year I have begun to make pictures that have found photos as their starting point.
I found an old book about architecture in Moscow, which was the starting point for 'Red Square' - from a distance it is a fairly traditional view of Red square, but in fact on closer inspection is made up of many squares overlapping, with one central red square behind a devoréd square.  I like the idea of incorporating conceptual ideas in seemingly traditional landscapes.

I have recently worked from photos that I found from London in the 60's. In 'Dome Area', St. Pauls is shrouded in scaffolding.  I wanted to create the illusion of it 'disappearing' into the waterfront buildings so I only printed the silkscreen image partially, actually using the 'squeegee' as a paintbrush in a gestural movement.  I then just printed the rest in 'dévoré', so in effect it exists just as a negative image. 
The floorplan behind in the shape of a cross represents the meaning of the building and also enhances the geometrical nature of the design.  Behind the dome, are the words ' dome area'.....

In 'The Prospectors' I have incorporated images from banknotes in 'dévoré', which allow the glint of gold to shine through, as busy stock brokers rush by the stock exchange iin pursuit of their fortunes.

'After Magritte', is a reverse sort of surrealism.  In the original 'Ceci n'est pas une pipe', he is saying that the painting is only a representation of a pipe.
By adding 'Ceci est un tableau' across the painting in the National gallery, I am stating the obvious, while 'this is a painting'  behind a 'dévoré' square at the top actually states the fact.

I am currently working from my studio in South West France, near Biarritz, where I am also represented by Galerie 13 Avril: www.13avril.com
You can also find details of my short courses in dying, printing and painting textiles at www.texperience.fr

Tel: 0033(0)559315025
andreaellis@texperience,fr