b. Liverpool, working in London
Mathilde Cheers-Aslanian is an oil painter.
Primarily working in thin layers of paint, their practice is preoccupied with an attempt to express the vibration between certainty and ambiguity. A long zoom out, almost to the edge of perceiveability, threatens to encroach on mingling characters and a fraying mis en scene. Emergent forces of real lingering on the edge of a miss remembered film.
Personal is promoted to myth, cinematic mistook for allegorical and all underscored with reverence to a cyclic mourning built into the return. That age old American tradition of contemporaneous myth making.
Mathilde Cheers-Aslanian is an oil painter.
Primarily working in thin layers of paint, their practice is preoccupied with an attempt to express the vibration between certainty and ambiguity. A long zoom out, almost to the edge of perceiveability, threatens to encroach on mingling characters and a fraying mis en scene. Emergent forces of real lingering on the edge of a miss remembered film.
Personal is promoted to myth, cinematic mistook for allegorical and all underscored with reverence to a cyclic mourning built into the return. That age old American tradition of contemporaneous myth making.
