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Corinna Spencer


From a previous post: …I was thinking about a periphery audience in addition to the one viewing the painting but at the same time showing an intimate private performance or perhaps a ‘performer in private’…..

‘Taken together, beauty, flirtation and thrill and the strong female body produced a complex response on the part of the viewer in the gasp, the gape and the widening of eyes’ Brenda Assael ‘Circus and Victorian Society’

6 Responses

  1. dean melbourne

    hey Corr , very nice work. i love number 4 and 6 particularly. not sure what is but they create a strange feeling in me.
    like pure story telling (like i might read to my little girl) but with a slight sureal macabre edge.
    how are you feeling about the changes in your work at the mo?

  2. corinna

    Hi Dean, thank you for dropping by. I appreciate it a lot.
    The changes that happened last year were inevitable in lots of ways, I had taken much of my work/ideas as far as I could take them and it was time to start using all of the ‘stuff’ I had been collecting. So I am happy to have more avenues to investigate right now. The change in scale had a massive impact of course (For the better). ‘Circus’ and its off shoots is the start of a lengthy project and it pulls together lots of recent concerns. I feel like I will be taking my time with this. I am also working on a separate series of paintings, I shall post those in a week or two.

    Thank you for your kind comments. There is a dark sadness to some of the pictures I am looking at right now, even some of the bright colourful 1960/70s snaps.
    This was a very long reply.
    Sadly there is no prize for reading to the end.

  3. dean melbourne

    the prize is the conversation! thank you

  4. corinna

    cheers Dean x

  5. CAP

    Something about the little glimpses of countryside in these made me think of Picasso’s early series of circus performers, like Les Saltimbanques. I especially love the red lorry! The day time settings give them an extra distanced, nomadic quality. On the other hand, the cropped treatment of the figures reminded me of Degas or Lautrec. It’s a great theme, still has possibilities. The strange, pale tonality is all yours (hopefully not just the JPGs). It’s good to see the figures opening out into more concrete situations.

  6. corinna

    Phwoar! CAP, that was lovely, amazing comparisons.

    Yes, the tonality is true to the actual work (a total pain to photograph). It does feel like there is lots I can do with the theme. I’m relaxing into it, taking my time. I am known to rush, I am going to try hard not to.

    Thank you for your red lorry comment, I was nervous about the red lorry.
    Thanks CAP