The so-called progress of love (even after)

A collaboration between Phyllis Bramson and Lady Ying-Ying,
the retired perfumed companion.

This body of work deals with illusion and cliché. The central source of my imagery usually comes from experiences and memories that have to do with some sort of ‘traveling.’ Images used as a repository for feelings, relating  to cultures and places  which often collide and intermingle between notions of the personal and at the same time, propose a story but doesn’t tell the ending.  Narratives that wobble between private subjective values, social concerns and self subscribed metaphors – as it is the material, the philosophical as well as visual aspects of making art that enlightens me.  Provoking and inviting speculation, the pieces promote notions about ‘complicity” and ‘good’ behavior, while projecting a capricious irritability – concoctions that become phantasmagoric shifts about desire, success, failure, faith and seduction.

The work involving figurines allows for a new direction:  figurines acting as props that hold or support large mixed media scrolled drawings.  The motives for this work are not entirely clear, but certainly relate to obsessions, a craving for beauty and a certain love of theatrical eclecticism where art and décor are interchangeable.

Lady Ying-Ying, the retired perfumed companion

Lady Ying-Ying has been present in my artistic life for some time, but I just didn’t publicly acknowledge her.  She is a doppelganger of sorts, or personae.  We alternate in nature, mood and strategies of the hand, but I am often as interested as Lady Ying-Ying, in ‘pleasure gardens’ as a site that projects vaporous and sulfurous atmospheres.  Where figures romp in a framework provided for love and often the viewer is acknowledged as a voyeur. Using visual puns which depend on the comparison between things with similar visual characteristics, both of us trying to out wit each other, by introducing images and shapes that might appear inappropriate to some viewers.  Our mutual collaboration guarantees an eclectic bricolage that is formed from many bits and pieces which combine decorative and material playfulness with the erotic, in order to establish an intimate relationship with the viewer.

Bramson 2006