Competition Gallery
Chloe Sells
Inside The Day, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
Detritus Spectrum, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
If You Look Outside, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
Wild Eyed Ornamental, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
Phoenix Reclinata, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
Kubu Baobab, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
Red Hot Poker, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
Prismatic Occlusion, from the series Closer Than Known
Land, as the setting within which we enact our lives, where our memories subsist and our history is born, exerts a subtle power over us. Sells uses this potential to trigger ideas surrounding provenance and identity through ‘nostalgia, the sublime and the exotic’. During the darkroom printing process, that is integral to her way of working, the images are layered with lurid colour and geometric folds, creating an atmosphere of the unreal. Despite her use of artifice, for Sells, the connective tissue that binds the spaces in her works remains that ‘of the world and experience itself.’
