Adeleine is an artist, cultural researcher and educator invested in the everyday. She is fascinated with the make of myths, the effects of the uncanny, and power inherent in humour. Her practice investigates the visual palette of her home, Singapore, as well as global phenomenon such as our increasing encounters with virtual landscapes.
Some of her recent projects include Lasalle’s 2011 Christmas collaboration with the ArtScience Museum, Sculpture Square’s 12th Anniversary Show, Root Division’s A Garden of Earthly Delights, and The Wattis Institute’s Capp Street Project, 2010.
Adeleine earned her BA (Hons) Fine Arts at The University for the Creative Arts, UK. In 2011, she graduated from California College of the Arts with an MFA in Drawing and Painting and an MA in Visual and Critical Studies.
Currently, Adeleine is a resident artist at Canvass (Art. Space. Projects). When she is not painting, tinkering with found objects or dwelling in the digital realm, she teaches Studio Practice and CCS (Contemporary and Contextual Studies) to undergraduates at Lasalle College of the Arts, Singapore.
View her work at www.adeleinedaysor.com
Salmon Log Cake.
Oil & icing on found wood, salmon & icing on bread, corrugated cardboard, serving tray.
16.5 x 4.5 x 14.5 in.
Greener Pastures (installation view). Gravel, acrylic paint, icing, projected image.
About Adeleine Daysor’s Thesis Project
Painted Objects: Everyday Myths, Peculiar Wallflowers and Watchful Double Takes
This project examines the presence and encounter of painted objects by taking wallflowers as a metaphor of the everyday. Wallflowers are ubiquitous often overlooked, seen at a glance but only really discovered upon longer observation. We notice the everyday when things transform and seem strange, or are recognized as creative innovations. I extrapolate an “essence” of the everyday by expanding upon an interpretation of The Language of Flowers (a social practice and floral dictionary), interpreting theories of myth, strangeness, and technology with painted objects that include canvases, ceramic wares and architectural spaces. The myth of Rosa and Sub-rosa, Peranakan peonies, and an artifact nicknamed Narcissus are discussed in relation to the work of the artists Beatriz Milhazes, Lily van der Stokker and Francis Alÿs. The everyday is made up of a network of special and ordinary things¬—a perpetuating arabesque created through habit, intervention and social media. Painted objects, like wallflowers, are tactile placeholders and visual reminders of our constantly fluctuating familiar/unfamiliar and evolving everyday.