'Rarely do we pause long enough to look past the external and recognize when another experiences a fleeting moment of vulnerability. While these moments often go unnoticed, I am attracted to them because I believe that they reflect the complexity of our true selves and help instigate a dialogue about perception and the representation of self. To aptly capture the qualities that embody the intricate balance of the human condition, I carry a camera for snapping spontaneous photographs, scour social media posts, mine memories and recontextualize cultural myths. The unguarded moments that I catch of (and pilfer from) my friends, family, and myself, provide the basis for my work. My practice is what continues to enhance my understanding of the collective conscious. When I paint, I find that the unpredictable nature of the material consistently pushes me to explore the unknown. A process of true discovery, painting has enabled me to better recognize the beauty that resides within each of us despite our continued tendency to obfuscate the essence of our beings.'
'Sharing Cereal', watercolor and oil on Archival paper, 30 x 22 inches.
SendMeYourSelfie Series
'L. Aviva Diamon, Selfie', watercolor, oil paint & glitter on Arches paper, 36 x 24 inches.
left to right: 'Lost Tooth Stolen Selfie', watercolor on Arches paper, 8 x 8 inches 'Bibi Davidson,', watercolor, acrylic ink and oil on canvas, 12 x 12 inches., 'Matthew Garret Leiterding' acrylic ink and oil on canvas, 17 x 13 inches.
'Rarely do we pause long enough to look past the external and recognize when another experiences a fleeting moment of vulnerability. While these moments often go unnoticed, I am attracted to them because I believe that they reflect the complexity of our true selves and help instigate a dialogue about perception and the representation of self. To aptly capture the qualities that embody the intricate balance of the human condition, I carry a camera for snapping spontaneous photographs, scour social media posts, mine memories and recontextualize cultural myths. The unguarded moments that I catch of (and pilfer from) my friends, family, and myself, provide the basis for my work. My practice is what continues to enhance my understanding of the collective conscious. When I paint, I find that the unpredictable nature of the material consistently pushes me to explore the unknown. A process of true discovery, painting has enabled me to better recognize the beauty that resides within each of us despite our continued tendency to obfuscate the essence of our beings.'
Kristine Perceive Me Project
'Kristine Perceive Me Selfie', watercolor & gouache on cut Arches paper, 57 x 35 inches.
'Kristine invited me to be part of her Perceive Me project in which I got to use my lens to interpret her. Her body, her authenticity, her power, her femininity, her bravery, HER.
In the process of doing so, I took the opportunity to explore my own (as I often do.) It’s been good for my heart. I think part of understanding ourselves happens in relation to the world around us. But we also know that the social standards can be in need of critique more often than not.
They way Perceive Me reflects and shifts the idea of perception
of self allows for this criticism. It opens space for everyone involved, artists and viewers, to reflect upon how they see themselves and how they look at others and what weight and significance we place on all of that.'
'Crying with Dahlia Bud', watercolor on cut Arches paper, mounted on wood panel, 7 x 5 inches.
left to right: 'The Fool', watercolor & cotton thread on cut Arches paper, 84 x 93 x 9 inches., 'Memory Couch', watercolor, fabric, cotton thread & glitter on Cut Arches paper, 60 x 84 inches.,
'The Hanged Man', watercolor & cotton thread on cut Arches paper, 96 x 64 x 3 inches.
Be A Lady Series
'Be A Lady Paper Doll with Princess Diana Head', watercolor on cut Arches paper with magnets, 72 x 36 inches.
left to right: 'Be A Lady Paper Doll with Head Scarf & Prosthetic Leg', watercolor on cut Arches paper with magnets, 72 x 36 inches.,
'Be A Lady Free Bleeding Panties', watercolor on cut Arches paper with magnets, 10 x 14 inches., 'Be A Lady Paperdoll with MAGA Hat & Dildo', watercolor on cut Arches paper with magnets, 72 x 36 inches.
'Sheli, be a lady' is a phrase I heard a lot growing up. I never felt like I knew what that meant exactly, but I did feel like I was often doing it wrong.
As a girl, dolls became an influential learning tool in deciphering what appropriate femininity entailed. They were coded with messages about motherhood, domesticity, fashion, and physical beauty.
In 'Be A Lady' I use the paper doll to explore the complex process of understanding personal identity within the confines of society’s idea of womanhood. The pieces of my paper doll are symbols of sexuality, vulnerability, confidence, intelligence, physicality, and the process of resolving all the facets of one’s self.'
'Be A Lady' Installation View, watercolor on cut Arches paper with magnets, dimensions variable.
Be A Lady Vulva Paintings
'Be A Lady Vulva Paintings', watercolor & gouache on Arches paper mounted on wood panel, 8 x 8 inches each.
left to right: 'Be A Lady Vulva #7', watercolor & gouache on Arches paper mounted on wood panel, 8 x 8 inches., 'Be A Lady Vulva #4',
watercolor & gouache on Arches paper mounted on wood panel, 8 x 8 inches., 'Be A Lady Vulva #6', watercolor & gouache on Arches paper mounted on wood panel, 8 x 8 inches.
Sheli working in her studio.
Sheli Silverio, photo by Tony Pinto.
Sheli Silverio is a fine artist living and working in Los Angeles. She has studied studio arts and humanities at Pasadena City College, California College of the Arts in San Francisco, and California State University Northridge. An integral part of the LA Art World, Sheli is currently working for Shoebox Arts, offering valuable resources to emerging artists. She is a board member of the arts non-profit January Arts and editor of the online arts magazine Art and Cake.
website: http://www.shelisilverio.com
