ARTWORK EXAMPLES

Annabelle McEwen, Hymn to the [extreme] Self, 2024, video, aluminium and polyepoxide relief, polylactic acid and ipad, 255 x 175 x 15 mm

https://www.youtube.com/watch?v=QPgCQDKVOps

Hymn to the [extreme] Self
(transcript)
>my body is a mirror
>my body is data
>my body is extracted, copied, echoed
>bounding through refraction of its own reflection
>watch me reflect
>I am boundless
>I am flat
>I am fluid
>my body is categorized
>my body is an image
>my body is a map of sales
>I am a cartographer of commodities
>I am a screenshot
>I am proliferated
>scan me
>my body is utilized
>I am fabricated
>autofabrication
>I am industrial
>my body is industry
>I enact metamorphoses
>I am a poor player, strutting and fretting my hour on the stage
>this is the way the self ends
>not with a bang, but a whimper

Annabelle McEwen, Hymn to the [extreme] Self, 2024, video, aluminium and polyepoxide relief, polylactic acid and ipad, 255 x 175 x 15 mm

Annabelle McEwen, Virtual Gaze, Galvanic Envelop, 2025, photographic print on BFK Rives, punctured with eyelets, hung on zinc hooks and twisted shackles, 177 x 23 cm, Annabelle McEwen, Processed Caress, 2025, photographic print on BFK Rives, punctured with eyelets, hung on zinc hooks and twisted shackles, 200 x 35.5 cm, Annabelle McEwen, Virtual Embrace, 2025, photographic print on BFK Rives, punctured with eyelets, hung on zinc hooks and twisted shackles, 122 x 40 cm, photography by Eunie Kim

Annabelle McEwen, Facade Map Tile (surprise), (anger), (disgust), (joy), (sadness) and (fear) in Virtual Gaze,2025, dye sublimation print on carpet tile, 50 x 50 cm (each), photography by Eunie Kim

Annabelle McEwen, Silicone Valley Conductor (anger) and (sadness) in Virtual Gaze, 2025, etched copper, cast silicone frame 24 x 19 x 2 cm (each), photography by Eunie Kim

Annabelle McEwen, Webcam Doppelgänger, 2025, acrylic on wood, 228.6 x 152.4 mm

Annabelle McEwen, Choreography, 2025, acrylic on stretched cotton, 250 x 200 mm

Annabelle McEwen install at PARI in STAIN, (from left to right) Revised Corporeal Scan, 2023-2025, acrylic on dye sublimation print on aluminium, 35.5cm x 27.9cm x 1.5cm, Embrace, 2025, cement, cradled in phone stand 20 x 15 cm, Corporeal Scan UV Map, 2025, protein powder and silicone mounted on tablet stand, 20 x 25 x 2 cm, MeThreeSixty (V2), 2025, dye sublimation print on die-cut aluminium, 130 x 29.5 cm

Annabelle McEwen install at PARI in STAIN, Embrace, 2025, cement, cradled in phone stand 20 x 15 cm, Corporeal Scan UV Map, 2025, protein powder and silicone mounted on tablet stand, 20 x 25 x 2 cm,

Annabelle McEwen, Cameo: Construction of Servers, (fear) and (surprise) in Virtual Gaze, 2025, portland cement, graded sand, calcium aluminate cement, calcium carbonate, polyvinyl acetate homopolymer resin, 25.5 x 21 x 15 cm (each), photography by Eunie Kim

Annabelle McEwen, The Precession of Embrace, 2025, acrylic on ebonised wood, 228.6 x 152.4 mm

Annabelle McEwen install at PARI in STAIN, Maculate (Reach), 2025, image transfer on polylactic acid, 13 x 43 cm

Annabelle McEwen, Corporeal Gesticulation, 2025, ink on aluminium and polyepoxide, 17.3 x 11.4 x 0.5cm

Annabelle McEwen, Self Scan B (photogrammetry), 2023, image transfer on aluminium, 250 x 250 mm

Annabelle McEwen, Embrace in HARD/SOFT, silicone, protein powder, resin, 3D printed Polylactic Acid clamps, 300 x 300 x 20 mm

Annabelle McEwen, Reversed Hotlink Composition no. 3, 2022, dye sublimation print on aluminium, 27.9 x 35.5 cm, The National Art School Archive

Annabelle McEwen, Corporeal Data, image transfer on aluminium, 2023

Annabelle McEwen, Reflected Gesticulation, in Dead Ringer, 2024, aluminium and polyepoxide mounted on aluminium, image transfer on cotton, hand stitched frame, eyelets and twisted shackles, 490 x 425 mm

Revised Corporeal Scan, 2023-2025, acrylic on dye sublimation print on aluminium, 35.5cm x 27.9cm x 1.5cm (photography Davis Suyasa)