Anya Pesce

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‘Surface’ is fundamental to my practice as it is the external material skin that captures the essence of what I make. Historically ‘Finish Fetish’ in contemporary practice contextualises my work with reference to a specific group of artists in Los Angeles, USA in the 1960s who made work by hand that appeared slick and machine made. Mimicking fabric and referencing the body, the forms become a fusion of visual and experienced phenomena. My chosen material is polymethyl methacrylate- acrylic, which I mold by hand to create three – dimensional pieces that deceptively appear as soft folds and drapes, but are solid. Transforming the industrial material from its rectilinear state, the gestural forms appear to conceal or reveal something intangible under the brilliant lustre and colour of the exterior. Manipulated material and implied gesture allude to the world of fashion/art/design fusion, which has become increasingly difficult to differentiate between practices. Excess -fetish obsessions with fashion, desires and consumption manifests in the work aesthetically through the glossy exterior.

‘Surface’ is fundamental to my practice as it is the external material skin that captures the essence of what I make. Historically ‘Finish Fetish’ in contemporary practice contextualises my work with reference to a specific group of artists in Los Angeles, USA in the 1960s who made work by hand that appeared slick and machine made. Mimicking fabric and referencing the body, the forms become a fusion of visual and experienced phenomena. My chosen material is polymethyl methacrylate- acrylic, which I mold by hand to create three – dimensional pieces that deceptively appear as soft folds and drapes, but are solid. Transforming the industrial material from its rectilinear state, the gestural forms appear to conceal or reveal something intangible under the brilliant lustre and colour of the exterior. Manipulated material and implied gesture allude to the world of fashion/art/design fusion, which has become increasingly difficult to differentiate between practices. Excess -fetish obsessions with fashion, desires and consumption manifests in the work aesthetically through the glossy exterior.

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