Alli Elisabet Palmieri

is an interdisciplinary artist, designer, writer and self proclaimed rainbow based in Naarm{Melbourne}.

(hello ︎︎︎)

(selected works ︎︎︎)

Bod{ily} (Artwork)
Ornament and Grime (Artwork) Hygiene is the Religion of Fascism (Artwork)
Orange (Artwork)
Decor{um} ~ Distorted Bod (Artwork) Train, Tile, Chair Zine (Publication) Ador{e}nment, Caliper Journal (Publication)
XXX Toys (Artwork)
Moist  (Spatial Design)
Bod  (Artwork)
Em{bod}ied Wallpaper (Artwork)
You F?#~ing F%&k  (Publication)
Em{bod}ied Flora  (Jewellery Design)

Flirting & Queering
& Dancing Seriously
Frivolously Glitter
Everywhere Ooey
Gooey Ass Cheeks
On the Wall Licky
Licky Furry Hole

(© Alli Elisabet Palmieri 2020) 


Acrylic and glitter on MDF // 2019 

Bod{ily} is a visual memoir concerning the idealised body, rendered in vivid colour. There are prescribed social standards the feminine body must adhere to to appear desirable. Depicted as a pair of abstract entangled bodies, it aims to illuminate the effect of these standards on my subjective perception of my bod as grotesque. The bodies are nude. The bodies celebrate colour and flesh.

Bod{ily} intimately refutes centuries of idealised representations of the body, emphasising feminine autonomy through the nude embracing itself, which in turn, redirects the gaze.
The fluid medium of paint is juxtaposed against the rigidity of societal expectations. Drawing from Andrea Eckersley, there is a reverberating flow which occurs between the body of the paint, body of the painter, and body of the audience (Andrea Eckersley 2017). This concept of reverberation is carried on throughout future explorations.

Bod{ily} uses bold abstract applications of colour and soft curves. In the West, there has been long standing marginalisation and degradation of colour, termed as CHROMOPHOBIA by artist and theorist David Batchelor. Colour (both in every day life and design practices) is consistently diminished to be purely cosmetic, childish, ornamental, supplementary, queer, and coded in the feminine (Bachelor 2000). According to Charles Blanc, colour could not simply be dismissed, it had to be subordinated like a woman (ibid.).