Elysium Verto

Curated by Laurence Fuller
March 2018
Los Angeles, California

The epochal and transforming convulsions in the shape of our world is causing ruptures in civilization. The ice flows are breaking up, the earths plates are shifting and clutching together to form something new. But what is happening to us? History is being re-written.

When our world changes so do human dreams, our vision of paradise is transformed by the swelling sky. The air tastes different, birds flock south to a different home, flowers grow from uncommon rocks, fish spawn in unknown rivers.

Cascading corridors line the ridges of the deep, and its endless volcanic reach into the dark pushes up the ancient into something new. History is being re-written in our minds, conclusions are unfinished, but its images in nebulous states provide omens of the coming reformation.

Now the fluidity of form, now the ambiguity of edge, now the indecision of matter and the stretching fabric of existence.

Heroes taste tomorrows plunder on the grass and its speculation morphs their vision of Elysium.

Waves make up for boundaries unresponsive containment of our thoughts, it all comes flooding out in pulses of feeling and we stand in awe at the charge of a new being.

Paradise is changing.


Stephanie Fuller Flower Paintings


Lilium Oil Painting by Stephanie Burns

Lilium 2018, By Stephanie Fuller, Oil on Canvas, 48 x 48 in, © Stephanie Fuller


My first memory of art, walking through the living room in my home in Bath at three years old. To an open door on my right typing persistently away in what was later to be described to me by his closest friends was an unrelenting tapping, as my father sat his typewriter. The study was littered with books, from floor to ceiling, strewn across the floor in a frantic manner, much like what I later found to be his style of writing. Which encompassed a huge broad range of thought mostly circulating his inner social group of art world intelligentsia in England.


Sunflower Oil Painting by Stephanie Burns
Sunflower 2018, By Stephanie Burns, Oil on Canvas, 60 x 48 in
© Stephanie 

Next door was my mother’s studio, big windows opening up onto the garden, a flame of red curls that was her hair, would lash across the space as she carved out some new figure from stone or cast. The studio was always covered in plaster and rusted tools that she kept on workman’s table tops away from tiny hands. Out poured relics of the myth of my childhood, the vanitas objects of meaning, the symbols of life and death, Memento Mori.

When she transitioned to the brush it was an event, not just because her sculpture had become rarer still, but because it was a reshaping of her vision into a new medium. The landscapes and natural Australian forms of her past now took their shape in pigment and movements of color. Following on from the post-impressionists and the fine art tradition pursuing man and woman’s search for beauty.


Lilies Oil Painting by Stephanie Burns

Lilies 2018, By Stephanie Fuller Oil on Canvas, 48 x 48 in, © Stephanie Fuller


These new flower paintings, not unlike Bacon, are almost figurative pieces, the flower represented in its singularity as having a personality. When Van Gogh painted his flowers he was said to be painting at the manic rate of around three paintings a day, in all states of blossoming and wilting, on the edge of death, grasping onto the preciousness of life. The way these two artists see the world comes out in this same kind of paradox, this obsession with life and death fuels them to master their craft. For Fuller these flowers have a life beyond a pleasing decorative object, but a part of this ecosystem, and more like something fundamental to our planet. That is both fragile, necessary and constantly changing.


Orchids Oil Painting by Stephanie Burns 

 Orchids 2018, By Stephanie Fuller, Oil on Canvas, 48 x 48 in

© Stephanie Fuller


Red Acrylic Painting by Stephanie Burns

Red 2012, By Stephanie Fuller, Acrylic on Canvas, 60 x 92 1/2 in

© Stephanie Fuller






Skull 1996, By Stephanie Fuller, Bronze Ed 1/6, 7 x 9 1/4 x 6 in



Lemon 1996, by Stephanie Fuller, Bronze Ed 4/6, 81/2 x 3 1/2 x 4 1/2 in



Marron 1994, By Stephanie Fuller, Bronze 1/3, 18 x 6 1/2 x 8 in



Bowl Of Fruit Bronze Sculpture by Stephanie Burns
Bowl of Fruit 1995, By Stephanie 
Fuller, Bronze Ed 4/6, 13 x 8 1/2 x 10 in



Pear Bronze Sculpture by Stephanie Burns 
Pear 1996, By Stephanie Fuller, Bronze. Ed. I/VI  46 x 32 x 32 cm (approx)



The House Of Martha and Mary Bronze Sculpture by Stephanie Burns
Fish, Garlic and Chilli 1993, By Stephanie Fuller, Bronze ed. I/VI, 19.5 x 38 x 31 cm



Jug Bronze Sculpture by Stephanie Burns