Emma Cousin walks the line between the serious and the humorous - and, indeed, legs are her vehicle. “I currently use legs as a unit, a sign, a representation, a pun and an architectural element to build, make pattern or compose space with. The leg stands in for the human.”
Cousin’s practice is rooted in an interest in the human conditi on, visual semiotics, the history of painting and the material readability of paint itself. Oscillating between the figurative and the geometric, her paintings communicate an exuberant energy.
Encompassing drawing, collage and sculpture, Milly Peck’s work mines the congested optical fields of advertising and commercial display. Peck interrogates the interphase of the flat image and the three-dimensional object. “I am intere sted in the disjuncture between our constant image ingestion and our physical handling of real stuff.”
Milly Peck often plays with representations of the natural world, paying particularly close attention to clumsy imitations of biomorphic forms and human gestures.
In a parallel manner to Emma Cousin, Milly Peck graphically renders images pulled from the everyday into outlines or chunky cut-outs. Both artists court a line between comical misinterpretation and exaggeration.