Ex de medici biography samples

Many of her paintings and photographs feature guns, skulls and fascist motifs, as well as her own vocabulary of symbols of colonialism. De Medici often transforms these emblems of violence and oppression with elaborate patterning inspired by the wings of miniscule, unclassified moths viewed under the microscope. Expressed in the skilled, methodical strokes of natural history illustration, she hints at the role of aesthetics and image-making in the classification and ordering of the world through colonisation and empire.

In Live the Big Black Dream, images of control abound. De Medici draws attention to the continued significance of the all-seeing eye to contemporary power structures by including a surveillance camera and army binoculars.

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She will be a featured artist in the NGA's major exhibition inKnow My Name, that will feature Australian women artists to today. She attended the Canberra School of Artcombining performance, installation and photography in her fine art degree. Inwhile in Melbourne, she received her first tattoo. For the next 12 years she worked as a tattoo artist.

During the s she exhibited photographs and drawings of her tattoo work. In she saw botanical art paintings of Australian native flora painted in the early nineteenth century in watercolour. Seeing a connection between the detailed paintings and her own tattoo art, eX de Medici began painting in watercolour in a highly detailed style. De Medici then lived for 18 months - on Norfolk Island working on a large watercolour painting containing details of flowers, fruit, porcelain and skulls which referenced her own family history.

Back in Australia, she began work on a detailed painting of moths.

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The work addresses In her work, The wreckers, was shown in Part One of the exhibition, " Know my name: Australian women artists to now" at the National Gallery of Australia. Contents move to sidebar hide. Article Talk. At the same time, the tiny, obscure moths she drew and painted in the course of this research found their way into her commissioned portrait of Midnight Oil through the band members' shared concerns with conservation and biodiversity.

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The band is depicted, with the moths on their necks, in front of Ranger uranium mine in the Northern Territory. We respectfully advise that this site includes works by, images of, names of, voices of and references to deceased people. This website comprises and contains copyrighted materials and works. The National Portrait Gallery respects the artistic and intellectual property rights of others.