Justine Wesselo, an artist and model. From a very young age Justine was intrigued by the macabre; thriller and horror films, psychedelic images and soft erotic photography sparked her interest and fascination for lost objects, trash on the streets, especially piles of rubbish, searching for hidden "treasures”.
As a painter images became very important for her, as well as the monotony of daily life and the darker hidden side used to escape the tedium, making small observations within the ordinary.
Work
The works are influenced by crime and hedonism. Applying the paint, making the exact image and then annihilating said image, devouring and reconstructing over and over, similar to what happens at a crime scene, evidence is found and then skilfully poured over until the history of the crime is revealed. Often the things one does not see are the most important. Making the paintings blurry; forever there but in a haze. Similar to the dead, like a shrine. That simply fades with time.
Justine's paintings are the faces, the objects are the evidence and the installation the story.
'Man at table No.4' 60x80
'Self-portrait' 50x50
'Tongue-in-cheek' 50x100
'Young man taking a selfie' 40x50
'Daddy's hobby' 40x30
SOLD 'Man at table No.1'
'Touch my garden' 50x80
'Under skin' 150x100
'Man at table No.2' 30x40;
'He spoke truthful lies' 50x80
'Hotter than a car seat in August' 50x80
'S = 4' 40x50
'Room 406' 150x100
'The hunted predator' 45x35
'Six' 40x50
SOLD 'Everyone is a liar in their own reality'
Ask about work.
The hunt is better than the kill
A thesis written by Justine Wesselo. She gives the reader the cold hard evidence and conclusion for why art and crime touch upon the same thing or even bolder; artist are criminals as criminals are artist, as is the spectator viewing the art is the detective and the detective is the spectator viewing the art. Art is criminal.
“It is conventional to call ‘monster’ any blending of dissonant elements. I call ‘monster’ every original inexhaustible beauty.” - Alfred Jarry
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