Dog-Eat-Dog continued ...

nn-Marie Tully, Dog—Eat—Dog: A portrait of Lewis Payne, 2014. 

Oil on canvas. 380mm x 260mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Bonnie & Clyde (embrace), 2014. 

Oil on canvas. 320mm x 250mm. Sold.

Ann-Marie Tully, Dog-eat-dog: crouching Gerda, hidden Capa. 2014. Oil on canvas. 

150mm diameter. Sold.

Ann-Marie Tully, Dog-eat-dog: when the sleeper wakes (Gerda Taro) - after Velázquez',
 2014. Oil on canvas. 150mm diameter. Sold.

Ann-Marie Tully. Dog—Eat—Dog: Fleeing fauns (Bilbao) - After Velasquez, 2013.

 Oil on canvas. 200mm diameter. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Gas mask nurse (Nel's Rust) II, 

2014. Oil on canvas. 320mm x 250mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Gas mask nurse (Nel's Rust) I, 

2014. Oil on canvas. 320mm x 250mm.

Ann-Marie Tully, Dog—Eat—Dog: Black sheep (watch) I, 2014. 

Oil on canvas. 150mm x 120mm.

Ann-Marie Tully, Dog—Eat—Dog: Black sheep (watch) II, 2014. 
Oil on canvas. 150mm x 120mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Black sheep (watch) III, 2014. 

Oil on canvas. 150mm x 120mm.

Ann-Marie Tully, Dog—Eat—Dog: Bonnie & Clyde (coy), 2014. 

Oil on canvas. 485mm x 380mm.

Ann-Marie Tully, Dog—Eat—Dog: Civil war bride, 2014. Oil on canvas. 

390mm x 300mm.

Ann-Marie Tully, Dog—Eat—Dog: Nabis gas mask II, 2014. Oil on canvas. 300mm x 
300mm.

Ann-Marie Tully, Dog—Eat—Dog: Nabis gas mask III, 2014. Oil on

 canvas. 320mm x 250mm. Sold.

Ann-Marie Tully, Dog—Eat—Dog: Bleek House - Lucy Lloyd (Before 

there was you), 2014. Oil and pencil on canvas. 320mm x 250mm.

Ann-Marie Tully, Dog—Eat—Dog: Duiker mugshot, 2014. Oil on canvas. 
400mm x 300mm.

Dog–eat–dog

The Dog—eat—dog (2010-2013) series draws on narratives and idioms that parallel human culture with lupine and other animal attributes relating to predatory and maternal instinct, ferocity and stealth, and the marginalisation (animalisation) of otherness. Shakespeare’s Marcus Antonius invokes canine ferocity in preparation to strike against Julius Caesar’s assassins, linking notions of aggressive animality to the human practice of war. This visceral rhetoric also conveniently absolves the ‘civilised’ qualities of human beings from complicity in the atrocities of war:

And Caesar’s spirit, raging for revenge ...

Shall in these confines with a monarch’s voice

Cry “Havoc!” and let slip the dogs of war

That this foul deed shall smell above the earth

With carrion men, groaning for burial.

- William Shakespear’s Julius Caesar, Act 3, scene 1.

Dog—eat—dog: the Bleek house (2013) series

The Dog—eat—dog: Bleek house (2013) series is a title I employ ambiguously to play on the marginalisation of !Xam speakers, and the financial hardships of the Bleek family who hosted a group of !Xam speakers incarcerated at the Breakwater prison. The Bleek family conducted research into the IXam and Korana language compiling detailed records of San folklore and cosmological beliefs. I include the Bleek house in the Dog—eat—dog series, as this consequential research and human interaction took place despite overwhelming colonial indifference to San culture, based on the ideological animalisation of difference. 

Some interesting links about the life of Gerda Taro:
http://www.bbc.com/news/magazine-25108104
http://www.theguardian.com/artanddesign/2012/may/13/robert-capa-gerda-taro-relationship

Pussy (for Derrida and T.S. Eliot)

The Pussy (for Derrida and T.S. Eliot) series (2013-2014) is a 'tongue in cheek' textile drawing series of cat forms constructed out of womens underwear (panties) and cotton thread. The cat forms are derived from illustrations of T.S. Eliot's collection of whimsical poems about cat characters, Old Possums Book of Practical Cats (1939) - which I adore. The construction of these cat/animal forms from the material of human delineation - clothing (and in particular the liminal under-clothing that touches the naked human form) responds to Derrida's (2002:372–375) account of an awkward encounter with his cat, where he discovered that his naked body was the object of the cat’s penetrating gaze. Derrida (2002:372–375) begins his article ‘The animal that therefore I am (more to follow)’ (2002) with this anecdote to reveal (with humour and allowance for the agency of animals-as-protagonists) how thin the veneer of humanity really is, distinguished from animality merely by clothing in this instance. 

Derrida, J. 2002. The animal that therefore I am (more to follow). Trans. D. Wills. Critical Inquiry 28(2):369–418. 

Ann-Marie Tully, Pussy (for Derrida and T.S Eliot) I. Underwear, cotton on Fabriano, 240 x 200 mm. 

Ann-Marie Tully, Pussy (for Derrida and T.S Eliot) II. Underwear, cotton on Fabriano. 300 x 210 mm. 

Ann-Marie Tully, Pussy (for Derrida and T.S Eliot) III. Underwear, cotton on Fabriano. 260 x 180 mm. 

Ann-Marie Tully, Pussy (for Derrida and T.S Eliot) V. Underwear, cotton on Fabriano. 230 x 190 mm.  

Ann-Marie Tully, Pussy (for Derrida and T.S Eliot) VI. Underwear, cotton on Fabriano. 230 x 190 mm.  

Ann-Marie Tully, Pussy (for Derrida and T.S Eliot) VII. Underwear, cotton on Fabriano. 260 x 220 mm.

Ann-Marie Tully, Pussy (for Derrida and T.S Eliot) VIII. Underwear, cotton on Fabriano. 300 x

 195 mm.

Shewolf I and II

Ann-Marie Tully, She-wolf  I (installation view at the Pointure exhibition), 

2012. Gesso and oil on Fabriano, fake fur, cotton thread. 1000mm x 700mm.

Ann-Marie Tully, She-wolf  II, 2012. Gesso and oil on Fabriano, fake fur, 

cotton thread. 150mm x 350mm

Dog-Eat-Dog (glass series).

Ann-Marie Tully, Dog-eat-dog, oil on glass series, front installation 
view at the ZOO exhibition (2013). Sold.

Ann-Marie Tully, Dog-eat-dog, oil on glass series, back installation 
view at the ZOO exhibition (2013). Sold.

Ann-Marie Tully, Dog-eat-dog, oil on glass series, front installation 
view at the ZOO exhibition (2013). Sold.

Ann-Marie Tully, Dog-eat-dog, oil on glass series, front installation 
view at the ZOO exhibition (2013). Sold.

Ann-Marie Tully, Dog-eat-dog: Marilyn sings to the troops (back view), oil on glass,
340 mm x 275 mm. Sold.

Ann-Marie Tully, Dog-eat-dog: Marilyn sings to the troops (front view), oil on glass, 
340 mm x 275 mm. Sold.

Ann-Marie Tully, Dog-eat-dog: Miriam Makeba (pata pata) (back view), oil on glass, 
340 mm x 275 mm. Sold.

Ann-Marie Tully, Dog-eat-dog: Miriam Makeba (pata pata) (front view), oil on glass, 
340 mm x 275 mm. Sold.

Ann-Marie Tully, Dog-eat-dog: Piaf (little sparrow) (back view), oil on glass, 
340 mm x 275 mm. Sold.

Ann-Marie Tully, Dog-eat-dog: Piaf (little sparrow) (front view), oil on glass, 
340 mm x 275 mm. Sold.

The Dog—eat—dog (2010-2013) series draws on narratives and idioms that parallel human culture with lupine and other animal attributes relating to predatory and maternal instinct, ferocity and stealth, and the marginalisation (animalisation) of otherness. This glass series concentrates on photographs of singers who lived through and participated in war-time scenarios. The glass is a reference to the fragility of the voice.