Pamela Joseph

Prunus Cerasus (Cherry Blossom)
Prunus Cerasus (Cherry Blossom)

Prunus Cerasus (Cherry Blossom) 2020 Acrylic and mixed media on plexiglass 49 x 45 x 3 in.

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Asteraceae (Dahlia)
Asteraceae (Dahlia)

Asteraceae (Dahlia) 2019 Acrylic and mixed media on plexiglass 41 x 46 x 3 in.

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Antirrhinum (Snap Dragon)
Antirrhinum (Snap Dragon)

Antirrhinum (Snap Dragon) 2021 Acrylic and mixed media on plexiglass 57 x 39.5 x 3 in.

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Prunus Cerasus (Cherry Blossom)
Prunus Cerasus (Cherry Blossom)

Prunus Cerasus (Cherry Blossom) 2020 Acrylic and mixed media on plexiglass 49 x 45 x 3 in.

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Rousseau Cinématique, panel #1
Rousseau Cinématique, panel #1

Postcard Paintings Rousseau Cinématique, 2008, Oil with collage on linen, Panel 1, 38x30 by Pamela Joseph

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Rousseau Cinématique, panel #2
Rousseau Cinématique, panel #2

Postcard Paintings Rousseau Cinématique, 2008, Oil with collage on linen, Panel 2, 25x50 by Pamela Joseph.

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Rousseau Cinématique, panel #9
Rousseau Cinématique, panel #9

Postcard Paintings Rousseau Cinématique, 2008, Oil with collage on linen, Panel 9, 32x40 by Pamela Joseph

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Rousseau Cinématique, panel #1
Rousseau Cinématique, panel #1

Postcard Paintings Rousseau Cinématique, 2008, Oil with collage on linen, Panel 1, 38x30 by Pamela Joseph

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Pamela Joseph

Pamela Joseph

 

Rousseau Cinématique consists of nine paintings that are based on Henri Rousseau’s The Horse Being Attacked by a Jaguar. In 2007, Joseph created a collage of the image on a postcard, interspersing body parts from Mexican porno comic books throughout the landscape. These new elements created a sense of punctuation in the overall chaos of the jungle scene. Pam recognized that Rousseau’s paintings have a shallow depth of field and limited perspective. Since comics and the idea of sequential narrative are influences in her work, she conceived of a cinematic approach to the painting.  As in the movies, the viewer’s attention goes from a close-up to a wide-shot in a series of differently scaled panels.
 
Rousseau Cinématique is a part of the series, Postcard Paintings, which explores other artists’ work while juxtaposing Joseph's own imagery within it. She incorporates collage body parts from erotic Mexican comic books.  Much as a modern disc jockey remixes music, Pam works on the computer by overlapping and integrating the new information into the work of other artists. From these permutations, she creates a painting on a larger scale in oils on linen that incorporates the original collaged elements. The enlarged scale of the body part has a dot-matrix degradation that contrasts with the classical oil-painting technique. As she work evolves, it becomes a dialogue between Joseph and the other artist. Pam acknowledges the other style, while asserting her own vision in developing the image. In this way, she hopes to present a new interpretation of the original for today’s contemporary audience.