COMEDIC MELANCHOLY (Urban Metamorphosis of the Animal Body and Landscape)
The artworks I create consider the relationship between animals and humans, within the Anthropocene. Emphasis is placed on understanding the animal experience. My work further considers themes of urbanisation, symbiosis, simulacrum and species adaption. COMEDIC MELANCHOLY utilises the animal body to tell a story about the Anthropocene. Employing the surrealistic style to embed worlds within the animal. We can understand the Anthropocene as the current state of our world, the timeline on which humans have had a significant impact on the planet. My artwork is often perceived as quirky and endearing, these qualities camouflage the seriousness of the artwork. When the themes are found, it creates a more daunting realisation as they are presented within a quirky artwork.
Mollie-Rose Chislett, Hen on Holiday, 2022, found object painted with acrylic and embellished with miniature models, dimensions variable. This chicken sculpture translates the feeling of travelling on holiday into a visual metaphor of nostalgia.
Photograph of site specific artwork, performance element included. I am the pigeon. Photographed holding a home made balsa wood house as I stare into the urban landscape.
Mollie-Rose Chislett, Urban Birds in Stationary, 2022, acrylic paint on found objects (bird sculptures), dimensions variable. These birds are windows into the urban world, detailed with three dimensional attributes that make the worlds come to life.
Working with small sculptures, painting in the tiny details and gluing down smaller sculptural forms.
This assortment of small scale artworks on my studio wall display my way of working. I hang my preliminary artworks up like this to invoke inspiration for myself as I work.
Testing an installation of an artwork, Wall Ducks, 2022.
Mollie-Rose Chislett, Mobile Home, 2022, model house constructed from balsa, MDF, and acrylic paint, presented with site specific photos and fake grass. Displayed at the RMIT Open Day exhibition 2022.
