Artists | Scott Livesey Galleries

Sonia Payes

Emergence 1

2020

bronze, black patina on a burnt wooden base

51.00 x 27.00 x 12.00 cm

Edition: of 3

$14,800.00

Transient Information

lenticular print

120.00 x 89.00 cm

Edition: of 3

In the lenticular print Transient Information, past, present and future are united through the shifting expression of one of Africa’s Maasai population. Emerging from darkness, the piercing white eyes of this scarred but proud figure gaze at us from a place of knowing. As the viewer moves back and forth, a communicative channel between temporalities opens up – a sleek-faced, curious future-self observing their past incarnation – before the indominable warrior’s mortal eyes flash shut. Given that past informs future, and death engenders new life, as the viewer’s perspective changes those eyes flicker between states: resulting in a visually striking illustration of life’s eternal, regenerative cycles. . . . . . . . This work has many images which you’ll see in the lenticular print. This is one of the images.

$12,000.00

Sonia Payes

Woman in Bronze

2019

bronze

2.30 metres (height)

Edition: Edition: 3 +AP

This work invites the viewer to explore an internal self-reflection, extending themes of regeneration in an Anthropocene world where humanity has become the dominant influence on climate and the environment. . . . . . . . . ‘Woman in Bronze (2019) is the latest piece from Melbourne based artist Sonia Payes: exploring thematic preoccupations of creation, destruction, and transformation, but through a contemporary lens of growing environmental angst.’ ‘Hybridity is an integral part of her artistic practice, and over a sixteen-year professional career she has combined her foundational photographic work with digital imagery, 3D technologies, animated film and sculpture.’ ‘ Woman in Bronze, a distillation of humanity, Earth, and personified creation, impotently anticipates its own dissolution. But Payes remains hopeful. The sneaking crack that threatens to tear these conjoined unities apart, to divide one into two, also presents a reproductive multiplication. Bearing the visual DNA of the artist’s family – her daughters Ilana and Janine, and their own children – it conveys a fervent belief in life’s potential for regeneration.’ These lines are taken from an essay that is being published internationally soon, by Daniel Pateman, Freelance Arts Writer, U.K. 2019