alfie poelsing.​
telephone.
In an abstract environment, an ascending line of hands play a game of Telephone; in turn, their message distorts.
restraint.
An original painting depicting my hands in the centre. Flanked from above and below, two hands reach out to the pair. As tempting as it is to grasp, the hands in the centre restrain themselves.
In a way, a self-portrait, depicting hesitation.
find a way.
An original painting that merges my hand motif with abstraction. Instead of the hands ruling the scene as they usually do, they are placed in the middle of an unknown environment, forced to find their way.
the getaway.
A diptych designed to be separated.
A hand emerges from a wild environment, presenting the stopper of a decanter. At first glance, this piece is serene, an inspection of a beautiful glass object amongst flora. Yet it’s only when you find the companion piece of this diptych, a small, open glass decanter, that you realise the ominous implications of that once decorative piece.
Whatever the decanter once held has slipped free.
the garden of curation.
An original painting showing a selection. A large hand is presented with several orbs on podiums underneath a tree, which seems to grow these orbs like fruits. A scene of inspection and curation; inviting the question: what are they using them for?
you can't have both.
An original painting showing a decision. A hand stands at a crossroads, having to choose between following an orb downwards or rise above.
you're eating my lunch.
An original painting depicting a sombre scene as vulture-like hands near in on somebody else's kill in an abstract, wild environment. "You're eating my lunch" toys with the idea of animal survival versus human betrayal and brutality.
drip feed.
A small, original painting depicting a feeding in a rainforest environment. A glowing orb leaks a fluorescent substance onto the leaves below as a mass of hands worship the bright light.
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pursuit.
A large original painting depicting a dramatic movement in an abstract jungle environment. A flurry of hands rise from the ground as two hands point them in a direction amongst the foliage - a scene captured mid-motion.
the harvest.
An original painting set in an ominous realm where large hands manipulate and control. Small figures stand in line, mesmerised by a bright orb of light, as their controller moves towards it.
nightly selection.
An original painting inspired by the universe shown in my painting 'Smiling Faces.' A robed figure gets illuminated as two hands flank them from the darkness. A suspenseful scene which evokes the question: "What happens next"?
An original painting revolving around ideas of lust, voyeurism and intrusion. Cherries peeks into a ritualistic scene that hints at sexual intercourse through symbolism of growth, privacy and release. A large hand intrudes the scene through a darkened hole to remove the lid of a large decanter which small figures feed into. Cherries depicts a private scene which the viewer intrudes.
An original painting derived from feelings of paranoia, seclusion and fear - this piece revolves around the feeding of power and fear into one source, in which it rapidly spreads and grows - inevitably inflicting harm. Malignant distorts the familiar environment of my London apartment to toy with the idea that something you think you know, may in fact be completely alien.