Chloe Rose Bennett
My name is Chloe and I’m a print-based multidisciplinary artist. Moving from Queensland to Melbourne in 2018 to work and study at RMIT, my work is often figurative and frequently reflects personal experience while exploring themes of identity, psychology, fear, time and mortality.
My graduation work, titled Immortal Oblivion, comprises a triptych of watercolour paintings that reference three sculptures from ancient civilisations: Winged Victory of Samothrace (190 BC, Greece), Nefertiti Bust (1345 BC, Egypt) and Marble bust of a bearded ma” (c.a. A.D 150–175, Italy). Presenting altered versions of the original works, each is depicted as part-sculpture, part-machine hybrid figures to juxtapose past and future temporalities. This was in response to Michael Foucault’s concept of heterotopia – originally a medical term used to describe the anatomical displacement of body tissues. Sculpture and artificial intelligence can both immortalise representations of humanity, and in merging the two my work highlights the importance of looking to history – to better understand the world as well as ourselves and others – while we simultaneously move into unknown futures with artificial intelligence and alternative iterations of human existence.
Foucault, M 1984, ‘Of Other Spaces: Utopias and Heterotopias’, Architecture, Mouvemente, Continuité, Société des architectes, Paris, (‘Des Espaces Autres’ 1967. Translated from the French by Jay Miskowiec).
Immortal Oblivion / Winged Victory, 2020
Watercolour painting
380mm x 283mm
Immortal Oblivion / Winged Victory, 2020
Watercolour painting
380mm x 283mm
Immortal Oblivion / Nefertiti, 2020
Watercolour painting
380mm x 283mm
Immortal Oblivion / Nefertiti, 2020
Watercolour painting
380mm x 283mm
Immortal Oblivion / Bearded Man, 2020
Watercolour painting
380mm x 283mm
Immortal Oblivion / Bearded Man, 2020
Watercolour painting
380mm x 283mm