Strange Love 2017. Is there a more enigmatic species? Humans have been fascinated by them for thousands of years. Orchids are the earth’s most rapidly evolving species. They orchestrate a dance of sex and death through complex strategies of attraction to ensure survival.
Design is our way of attracting fate and orchids speak the asemic language. Their enigmatic markings have been utilized in my drawing and design for years. Orchids are the subject of two of my videos. 6 drawings on Lanaquarelle paper, gouache, watercolor, ink, graphite, personal rubber stamps. 9 x 12 in., 23 x 30.5 cm. https://www.interaliamag.org/emerging-ideas/cecelia-chapman-strange-love-2017/
Orchid Farm video 2008: https://www.youtube.com/watch?v=79TkypUuYzw
Drone Drama: Music for the Dead 2016: Chapter 9 video: https://www.youtube.com/watch?v=V5iXzdIyWrY
To enquire about price contact me. Works mailed three day, registered, signed. PayPal only.
In the drawings @semi@, @lph@w@ves, medit@tion 2018, is an experiment to produce alpha state, considered the healthiest wave range. Using asemic drawing, it’s lack of message and rhythm is conducive to alpha state. Using the @ in the title to show brain states are ‘places’ a person can go to. Strathmore paper, gouache, watercolor, ink, graphite, personal rubber stamps. 11 x 14 in., 28 x 35.5 cm. https://the-otolith.blogspot.com.au/2018/05/cecelia-chapman.html and in print http://www.lulu.com/shop/mark-young-editor/otoliths-issue-fifty-part-two/paperback/product-23772836.html
Club Assassin 2017 dwells on the fact we are all complicit in organized killing, using the Syrian word ‘assassin’ in the title, and the image of the endangered Syrian national bird. 3 drawings on Arches paper, watercolor, gouache, personal rubber stamps, digital print, graphite. 8.5 x 11 in., 21.5 x 28 cm. the-otolith.blogspot.com.au/2017/04/cecelia-chapman.html
ViperDown from Stealth 2015-2016 examines the war-like nature of our culture. Panels and photographs of the panels with childrens’ war toys I found while working on this project, Stealth. Birch panel, mineral pigment, acrylic, gesso, house paint, spray paint. Stand, hanging wire. 2014 - 2016. Some sold, originally 4 large, 4 small panels 8 x 12 in., 20 x 30.5 cm., and 24 x 24 in., 61 x 61 cm. http://thenewpostliterate.blogspot.com/2016/03/asemic-writing-camouflage-from-cecelia.html
Magic Alibi 2019. Four drawings on Lanaquarelle paper 10 x 14 in., 26 x 36 cm., gouache, watercolor, ink, graphite, personal rubber stamps. https://thenewpostliterate.blogspot.com/2019/06/magic-alibi-by-cecelia-chapman.html
Snake Creeps Down and Hidden Leopard, from Endgame2 2017 reflects on war arts glorified and embedded in human culture. Endgame2 employs kung fu animal stance titles, camouflage markings, and the ambiguity of asemic writing to consider that the ultimate goal of the military-industrial complex is ambiguity, instability and no end to the game. 4 drawings on Lanaquarelle paper, watercolor, ink, graphite, personal rubber stamps. 9 x 12 in., 23 x 30.5 cm. http://the-otolith.blogspot.com.au/2017/05/cecelia-chapman.html
Two Club Paradise books 2019. Postcard collaboration 4 x 6 in., personal photographs, found images, laminated cover 5 x7 in. NFS IXª Biennale Internazionale Mail Art 2020, mail art with Rafael Gonzalez and Jeff Crouch
In Posted, Rafael González in Tenerife returned seven postcards describing his vacation. Or has he? We can not know if his written words are truth, memory, or dream. https://www.utsanga.it/cahpman-gonzalez-works/
Sent postcards from Texan Jeff Crouch are a secret story without beginning or end. The writing on the back of the cards suggests a narrative different from the usual holiday tourist seeking memories to consume later. http://www.unlikelystories.org/content/sent
Asemic Cartoons 2016. Named ‘cartoons’ as in rough drawings for a final painting, these drawings take their format from pre-digital print layouts. Canson paper, watercolor, pigment print, ink, graphite, personal rubber stamps. 8 x 10 in., 20.5 x 25.5, image size 6 x 6 in., 15 x 15 cm. https://www.utsanga.it/chapman-works/ and https://www.utsanga.it/chapman-works/ and https://issuu.com/zoomoozophone_review/docs/zr8
In Ultima Thule: Horizon, Border and Limits 2018, the earliest sailors’ Latin name for islands at the edge of the world, Ultima Thule, influenced these drawings. NASA’s current spaceship voyage is exploring an object, nick-named Ultima Thule, in the Kuiper Belt, ‘the most primitive world,’ the farthest visit in history. Geo-political complexities, borders, and the heated race to colonize space determined my image of an imaginary sea horizon, murky silhouette, fantasized sweeping searchlight and dropped ladder. I offer two versions, a watercolor, and/or a digital ‘cartoon’ version. 6 drawings on Lanaquarelle paper, watercolor 10 x 14 in., 26 x 36 cm. gouache, personal rubber stamps, graphite, ink. https://www.utsanga.it/chapman-ultima-thule-horizon-border-and-limits-2018/ and https://the-otolith.blogspot.com/2018/08/cecelia-chapman.html