Violet Aveline loves storytelling and myths, inquiries into the Truth shaping our day to day, fluid enough to evolve with us. As a child she painted, made puppets and plays, and created altars to Egyptian gods. At the Herron School of Art and Design she expanded into printmaking, sculpture, stop motion animation, and installations. She works on art every chance she has, whether at her studio, home, or work.
Violet is also deep into music—industrial, Afro funk, space rock, punk, classical, noise… all approaches to explore and make sense of the universe. It surfaces in the mischievousness of her work, taking on heaviness headfirst, often brutally, while injecting discordant levity and gallows humor, like the small deaths and disasters in her large format paintings, scenes within scenes. Likewise, she has a long list of visual influences: You can trace the her stark lines to Raymond Pettibon, the macabre face-lifting to Aleksandra Waliszewska, surreal landscapes to Cai-Guo, colored in David Hockney palettes, though it’s clear she swallowed and fused them to create her own imagery and visual language.
Violet’s last show, Death Dance, was based on a religion she created, complete with bibles, hymns, and tracts, with baptism by poison flowers and dances around a burning cedar skull on the full flower moon. As a way to address the (latest) death of the gallery scene as we know it, she’s creating a skate deck art show and scavenger hunt, transforming her environment into a gallery the way skateboarders transform cities into skateparks.
Violet drew upon her long-running themes and inspirations for her blacklight tarot cards. Starting before she knew what she was in for, the work became meditative, ritualistic: the hieroglyphic quality of the cards forced her to capture complex feelings and emotions with pictures. Figurative, expressive, colorful, mysterious, the deck reflects the tarot tradition, but it’s spun through her own myth-making, providing a new entry to understanding where we belong.