The artistic tenets of some of her favourite artists help Fraser to validate her own practice: from Brueghel I have gathered the confidence to use local environment andpersonal experiences as a worthy theme upon which to centre a body of artwork , and from Stanley Spencer the reassurance that there is a place forsuch an idiosyncratic vision . For Fraser, personal validity as an artistproducing work over many years comes through the primacy of theexperiential, expressed through narrative; without this basis the workbecomes endlessly repetitive and no longer speaks of contemporary and relevant experience.

Fraser notes that although the ideas for the images in my work are always quite spontaneous their journey into an image is often quite a lengthy process.  The technique and aesthetic effect of linocut, Fraser's preferred medium, is closely married to her vision. Linocut, as the artist notes, gives little room for once the block is cut the mark is there to stay. It cannot be erased by burnishing, scratching adding, darkening...  The black ink and the white 'absences' of the unmarked paper surface combine to produce a richarray of grey tones. The artist's images, whilst open to variousinterpretations, or 'shades of grey', are, like the lino, uncompromising,provoking an intellectual as well as emotional response.

Fraser finds a gentle irony in how people apply the meaning of her works totheir lives, and how the works operate in the personal space of the viewer'sown home, especially those which are more 'difficult', or confronting. All her prints offer themselves to the viewer on a number of levels. The imagesare immediately attractive: black-and-white imagery speaks of immediacy andtransparency. Once attention is caught, however, the viewer is drawn into adeeper narrative dimension where all is not as it seems, and the imagesfrequently have a subliminal threat or sense of unrest. Titles add a furtherdimension, suggesting a route to interpretation, but often prompting morequestions. The artist notes that nicknames or colloquial language used inthe titles can apply to more than one figure in the image... Using languagein this way adds breadth to the images, as it strengthens the elements ofhumour and ridicule within them . The viewer may 'read' the print towhatever level of narrative complexity they choose.

While Fraser's works are conceived from her daily experience of humanrelationships, the prints themselves force upon the viewer a strong sense ofdislocation from the everyday. The scale of figures and objects defy logic,and symbolic distortion of parts of the body such as hands enforce a senseof unease. The picture plane is manipulated according to the narrativeintent, and a powerful use of patterning further stresses the artifice of the image. replica watches uk


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