Chelsea Offersen

Creation In Distortion

‍ ‍Cesar A. Cruz once said, “Art should comfort the disturbed and disturb the comfortable.” I incorporate this sentiment in my works by not shying away from upsetting or grotesque subjects. I use surrealism’s strength in warping reality to convey sensations and experiences of mine. 

‍ ‍ I use multiple types of media, ranging from graphite to acrylic paint, as the piece should determine the media, the media shouldn’t determine the piece. I find inspiration in the juxtaposition of animal and human. I like playing with the disruption of the natural state and the effects of human influence. This theme is clearly seen in works of mine like Grandma’s House, where the observer can see an enlarged bee curiously climbing into a country house set in the middle of a field, and Discomforted, a work meant to invoke similar feelings I can get when struggling with starting some tasks by adding many unwieldy limbs to a human figure and contorting it.  A wide range of pieces have influenced my tastes, including works from René Magritte, Adam from North of the Border. René Magritte began my path down the rabbit hole of surrealism. And Adam’s unapologetic, grotesque pieces that exist for their own sake have inspired me to be bolder with my pieces and to be unabashed when stretching the limits of comfort. I like seeing how I can induce a morbid fascination with my audience. 

‍ ‍When I look to the future, I find hope that I will be a conservator and restorationist for historical artwork and artifacts. When I am not spending time with my work in museums and archives, I plan on keeping up with my own artwork, playing with the organic form and surrealism, as well as working on worlds these subjects inhabit. I am developing ideas for more story-focused pieces, like those of Simon Stalenhag or Luke Humphries, but still intend to create my single-subject works. I am excited to keep creating and exploring, finding out how I will push the boundaries of convention and expression.