Name: EMMA WEBSTER : THAT THOUGHT MIGHT THINK | LOS ANGELES
Uploaded: 2025-05-23T19:13:20.000Z
Duration: 6 min 58 s
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Yeah, so for this one, for these two petal apocalyptic paintings, I mean, the idea started with a really simple rupture of the sky, kind of like rapture fear.

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And so I was laying out just basic compositions, looking at what a kind of crazy sky event might look like, and doing little sketches.

And I kind of, I was doing these series of geese and then started sculpting these little geese.

I scanned them and put them in this larger thing.

And so this here is a picture of kind of what one of the renders looks like, which, you know, you really get this sense of like the light, the dark, this kind of cave feeling.

And these are the, this is like the primary sketch that I'll work from.

But there's a lot of invention that happens in the painting, like, you know, there's, there's peeling up the paint and kind of striking through, there's like splashes, there's, I'm really trying to get these like ray of lights to, to come down and fracture into bits of purple and brown and pinks and have all of these different sort of ways that the light hits and reflects all the way across this diagonal.

So this painting is called Era of Eternity.

And it's really this hypothetical sky opening event.

It's got this apocalyptic, kind of rapturous explosion of light.

It feels very both end and beginning of worlds, kind of out of our landscape.

And similarly, this other landscape that I was working on for the Petzl show is an amalgamation of things that I made and scans like this little paper deer, as well as objects that I made in virtual reality.

So a lot of these gummy like taffy trees and things are actually sculpted with the Oculus.

But it's a collage of these different types of sculptures.

And I think that that's why it has such a interesting rhythm of, you know, it's kind of like breaking its own logic over and over.

But it's a very cool, almost ice age-y energy versus this red desert other.

Like here, you know, everything goes into the paintings.

It's just this kind of primordial soup of I'll do a drawing and then decide to cut it out, scan it, sort of superimpose it.

So they're just a soup of a little bit of everything.

Some of it real, some of it not, some of it's flat, some of it's 3D.

But it all exists as this kind of cool, dark garden with an eclipse-esque lighting.

What I love about this one is the sense of scale is really ambiguous.

So it feels almost as if it's a shrub or a tree.

It could be underwater or in a kind of storm.

But the tree has these kind of tendrils that are almost Dr. Seuss-y.

And there's so many interesting little moments of light, reflected light, and the way that the sort of golden light comes down and then interacts with the root system down here, more of a red copper.

There's a lot of fun painting tricks that are happening in it as well, you know.

There's a lot of thick and thin gestures that are happening.

I feel like this one and the other two trees over here are probably in the most similar world.

They kind of function a little bit like bonsai gardens or bonsai trees, where you have this weird sense that you're like looking into a forest as a unit.

And I think this happens because the size and scale is so strange, you know.

In this one in particular, you are almost like looking up, looking up through this ring at this moon.

But then at the same time, you're also looking out and down.

So you've got this like weird mishmash of perspectives where it's almost like your gaze has to do backflips in order to make it make sense and move through it.

But still has like a lot of energy, I think, you know, in the details of how the paintings get made and the way that the glazes get picked up and put down.

You can see it also here in the sort of glowing shadows of the background, where you have the light that is concealed by the tree, this sort of backlighting, that it contradicts a kind of spotlight that is casting the shadow.

So I like that sort of sandwiching of light that's happening in it.

So this painting also is formed from all these various parts.

This bird, which I sculpted with an usually see as being these rays of light actually is kind of clunky and physical and chunky and dark.

And then you also have these sort of paper birds that are casting these shadows from the halos that are very different.

So I like that mixing of worlds of like the thing that was made within the ether of the screen versus the things that were cut out and printed and kind of like very felt.

And again, it's kind of got this like reverential element of light, you know, that I that I think is also explored in the other two. you