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Love Lies Bleeding - 2006

Love Lies Bleeding, Rozi Demant™s 2006 body of work, continues the journey of an enigmatic protagonist through a fantasy world. Demant’s paintings refer to ...

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Love Lies Bleeding, Rozi Demant™s 2006 body of work, continues the journey of an enigmatic protagonist through a fantasy world. Demant’s paintings refer to representational Surrealism, a genre championed by Dali and Magritte, whose philosophies encouraged the depiction of fantasy and dreamlike scenarios. As a self taught artist, however, Demant’s imagery is gleaned entirely from her own imagination.

Surrealist painting delves into the “other worldly” the thoughts and dreams of the subconscious mind. It is a genre rich with symbolism, and affords an opportunity for vast interpretation. The imagery herein lies in concert with this genre. Demant references the core characteristics of this movement: a combination of the intimidating, the quirky, the mysterious, and the psychological.

Each new painting is embellished through Demant’s relish for detail and an increasingly confident and courageous hand. Sophisticated brush work conveys Demant’s command of her materials, and the intricacy and delicacy she attains is evidence that Demant has truly harnessed her media.

Subtle shifts in light cast a dramatic veil over each scene. The sole character, who reappears throughout the series, is alluring and seductive, her mystery intensified by smoky black eyes and blood red lips, hallmarks of Demant’s subjects.

Translucent fabrics and floral specimens are rendered with meticulous attention. The rich red of the Amaranthus Caudates (Love Lies Bleeding flower) has particular resonance throughout the series, rendered sanguine and fluid, it spills into the eerily dark backgrounds. Blossoming flowers which emerge from barren ground signal a distant optimism within each solemn scene. In Demant’s inverted, fantasy world, hopeful sentiments are further referenced as exotic birds fly freely, liberated from their cages, which are either dangled by winsome woman, or toted by their former captives.

Demant’s subjects, while sexually provocative, are portrayed as distinctively feminine and delicate. Erotic, reclining, bound or lingering nudes are adorned with sheer, vintage lingerie. Revealing more than they conceal, the corsetry and lingerie intimately exposes the nubile female as beautiful, but in this case lonely, chastened and unobtainable.

Although symbolically laden, the analogy between Demant’s imagery and the Love Lies Bleeding flower is chiefly esoteric. Therefore to assume a singular or specific interptreation is a futile excercise. Her subjects remain alluring and inviting, enigmatic and secretive, encapsulating a deeply romantic dark mystery.

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