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Post-Internet painting #11, 2020
Oil, acrylic, spray and oil pastel on linen, 153 x 123 cm

AUD $15,000



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Coming of Age (triptych), 2020
Oil, acrylic and pastel on linen
123 x 279 cm (total), 123 x 93 cm (each panel)

AUD $23,500

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Post-Internet Painting #9, 2020
Oil, acrylic, spray and oil pastel on linen, 123 x 93 cm



SOLD



Post-Internet Painting #7, 2020
Oil, acrylic, pastel and spray on linen, 123 x 93 cm

AUD $9700



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Homme 188, 2020
Oil and acrylic, 122 x 92 cm



SOLD



Homme 189, 2020
Oil and acrylic on linen, 122 x 92 cm

AUD $9700



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Post-Internet Painting #8, 2020
Oil, acrylic, pastel and spray on linen, 123 x 93 cm

AUD $9700



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Ambassadors of Peace #1, 2020
Oil, acrylic, spray and oil pastel on linen, 123 x 93cm

AUD $9700



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Ambassadors of Peace #2, 2020
Oil, acrylic, spray and oil pastel on linen, 123 x 93cm

AUD $9700



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Post-Internet Painting #10 (diptych), 2020
Oil, acrylic, spray and oil pastel on linen
123 x 186 cm (total), 123 x 93 cm (each panel)

AUD $15,000



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Homme 208, 2020
Oil and acrylic on wood panel, 25 x 25 cm



SOLD



Homme 204, 2020
Oil and acrylic on wood panel, 25 x 25 cm



SOLD



Homme 203, 2020
Oil and acrylic on wood panel, 25 x 25 cm

AUD $2500



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Homme 209, 2020
Oil and acrylic on wood panel, 15 x 15cm

AUD $2000



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Homme 211, 2020
Oil and acrylic on wood panel, 15 x 15 cm



SOLD



Homme 210, 2020
Oil and acrylic on wood panel, 15 x 15cm



SOLD



Homme 187, 2020
Oil and acrylic on linen, 122 x 92 cm

AUD $9700



AVAILABLE



Homme 205, 2020
Oil and acrylic on wood panel, 25 x 25 cm



SOLD



Homme 207, 2020
Oil and acrylic on wood panel, 25 x 25 cm



SOLD



Homme 206, 2020
Oil and acrylic on wood panel, 25 x 25 cm



SOLD



Homme 200, 2020
Oil and acrylic on wood panel, 15 x 15 cm

AUD $2000



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Homme 201, 2020
Oil and acrylic on wood panel, 15 x 15 cm

AUD $2000



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Homme 202, 2020
Oil and acrylic on wood panel, 15 x 15 cm

AUD $2000



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LORIBELLE SPIROVSKI:
Happy Happy Joy Joy



14 October - 7 November 2020

In her latest body of work, Loribelle Spirovski explores our current societal condition through the lens of ‘Post-Internet art’, an artistic mode of thinking stemming from the early 2000s with the advent of the World Wide Web. A convoluted and often-debated term, ‘Post-Internet art’ has shifted and changed in its meaning throughout the decades, as the digital has become an ephemeral entity. Born during the chaos of a global pandemic, ‘Happy Happy Joy Joy’ speaks to the digital-dependence enforced upon society; from our social connections to our professional lives, the distinction between online and offline has become increasingly blurred. Certainly, it is not without comedic irony that ‘Happy Happy Joy Joy’ can only be viewed by audiences on their computer screens at home.


It is therefore with a fitting dose of nostalgia that Loribelle takes us back to a younger, more innocent era of the Internet, reigned by over-stretched images, the shadows and gradients of WordArt, and the distinctive scribbles of Microsoft Paint. With their vibrant colours, holographic texts, anamorphic figures, and dispassionate Deities; Loribelle’s Post-Internet paintings are a time capsule of emotion. With phrases such as ‘Ennui’ ‘Entropy’ ‘Determinism’ and ‘Mea Culpa’ broadcast across her canvases, Loribelle captures the internalised dialogue of the masses, one overrun with listlessness and boredom, uncertainty and disorder, existentialism and regret.


“When I began this series, I was in a funny state of mind; mad at the world; full of a desire to vandalise....I wanted to capture the energy of my teenage self, making collages in the stifling fibro bedroom of my parents’ house. Cutting from stolen copies of my father’s National Geographic magazines and caring very little about mutilating photographs of my child self”. 


– Loribelle Spirovski


Similarly, Loribelle describes the newest additions to her ‘Homme’ series as having developed out of a “need to play and experiment, using found faces on the internet which led to made-up faces and gender-bending” ultimately creating subjects that are at once familiar, yet entirely imagined. Pairing bold brushstrokes and jumpy crayon-esque lines with vibrantly coloured backgrounds, Loribelle continues her playful ode to the early 2000s. Undoubtedly, in a period fraught with anxiety and uncertainty, ‘Happy Happy Joy Joy’ offers viewers the opportunity to return to a simpler, more innocent time.


---

Artist statement:

​Until all that remains

becomes fire

and earth

under neon skies


Bodies of work grow from the ones that precede them, incubated in an atmosphere that the artist cannot help but be witness to. Earlier this year, cooped at home, I examined how the crisis of the world caused my mind to retreat into the memory palace of childhood - my own, in dank Manila streets.

Upon starting this particular body of work, I found myself along with the rest of the world, months deep into a slow-burning apocalypse, of the kind that I'd been primed for by countless films from childhood. So much rage and outrage brought me back to my own adolescent emigration to Australia. Adolescence, fuelled by the rage of leaving childhood, having to start again as seedlings, fighting for growth and light. All the while, the world was undergoing its own kind of adolescence, preparing for the coming maturity of a new millennium.

The 'Post-Internet Painting' series, like the 'Homme' series, grew out of a response to an existence increasingly shaped by the Internet and social media. Having lived through the birth of the Internet, this series muses on the innocent beginnings of the computer generation, defined by fond memories of Word Art and MS Paint.

This new body of work strips back the architectural forms that I've been exploring in the past couple of years, replacing highly defined spaces with childlike scrawls of arches vaguely reminiscent of de Chirico's arched laneways. In these spaces, statues distend and streams of paint become active characters, balletic in their freewheeling dance across the canvas.

As I worked on this series, an ironic phrase kept cropping up in my mind. It was short, tautological and incessantly familiar. When I finally caved in and graffitied it onto the canvas, a quick online search brought me to its origin: 'Happy, happy, joy, joy' was a song from the 90's cartoon, 'Ren & Stimpy' - something that I never actually watched as a kid, because we couldn't afford cable TV, yet somehow still in my subconscious after all these years. The phrase for me sums up a lot of how I feel about this year. The repetitiveness of our days indoors, the incessant presence of social media, the irony of words like 'happy' and 'joy' during moments when they are absent, or even when, guiltily, we begin to feel them again."

- Loribelle Spirovski



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1214 High Street,
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