Oona Nelson

Definition of ORT: waste, scrap, a morsel left at a meal

An Embarrassing Abundance; ORT Project

Ort Project is the collaborative union of artists Anna Noelle Rockwell and Oona Nelson, whose lush installations, photographs and interactive gestures explore and critique aspects of consumption, abundance, and decay. Their point of reference is the table, a site of dining and display, which they use as a staging platform for painterly nature morte tableaux in which the artists create ephemeral installations and photographs of edible and inedible subjects. Their work takes on the implications of food beyond that of nourishment, instead ORT marinates the more insidious, but visually rich implications—poisonous, gluttonous or hedonistic—to offer intoxicating critiques of social attitudes with collective perils. Within their work Ort blends the influence of art history, the contemporary cult of convenience and abundance, along with the corresponding environmental threats and distorted value systems, into uncommon balances of the grotesque and the beautiful.

Inspired by 17th century “vanitas” paintings from The Netherlands, ORT Project turns this antique style of painting into a contemporary sculptural tableau vivant that re-contextualizes the macabre nature of the genre.

Oona and Anna extend the vanitas point of reference from a scrap on the table to the venerable still life tradition, exhibiting the burnt remains of the original gilt-framed oil paintings. The disfigured remains found within these paintings lay in various states of repose: ashes rest in hand-blown glass reliquaries while half burnt paintings hang on walls or idle in darkened corners.  

Each artwork can be admired on its own or displayed within a larger installation that incorporates the individual pieces onsite, inviting the audience to walk through the static aftermath of this modern-day bonfire of the vanities. These seductive scenes depict the grotesque remains of some mysterious after-party, the wrecked furnishings, the luscious drapery, and the visage of the torched oddities laid to rest on the gallery floor. 

Continuing their focus on themes of temporality and impermanence—and employing symbolic objects designed to remind the viewer of their mortality—ORT Project pushes the concept of the historical vanitas through a contemporary prism to expose the vanity and vulnerability of our corporeal world.

In previous incarnations which critiqued aspects of consumption, abundance, and decay, the duo created lush installations of material excess: tables heaping with party remnants, molding gourmet treats, and objects symbolic of tarnished opulence abound while with the occasional living creature acts as a sentient witness to this hubris of human folly. 

With the Perishing Vanitas series, Oona and Anna craft “snapshots” from these scenes sets of imploding anarchy and decadence and then turn them into opulent oil paintings. These “one of a kind” paintings are first placed in ornate gilt frames. Then the artists use torches and fire pits to further deface the works with flame—either partially or entirety—thus completing their transformation. The resulting “art cadavers” are then assimilated into the morgue-style installation by placing their remains into hand-blown reliquaries on marble bases that are labeled with brass museum plaques noting title, original materials, and provenance.  

The process of incineration is meant as a symbolic gesture representing the decline of “civilization” and its slide toward extinction. Thus, these contemporary vanitas serve as a record of what was (man’s material-driven yet ephemeral “privileges”) and what is (the dark beauty of reality seen through mortal life). These contemporary vanitas are, effectively, the relentless turning of the screw, where there is no escape from fate. Whereas the traditional vanitas paintings served as pious warnings of this inevitability yet offered the possibility of redemption and transcendence, ORT Project presumes no salvation—all is lost in this incendiary realm.

Prices upon request.

Anthropocene Epoch includes a group of ‘tableau vivant’ inspired installations incorporating live monkeys, snakes, rats and cockroaches into contemporary Vanitas scenes of material excess and decay. The series also extends outside, into the natural elements, onto lush table settings left to decompose while wildlife (bear, deer, vole, insects, etc.) interact and become sentient witnesses to our hubris.

Originals as noted and limited edition photographic prints on Hahnemuhle PhotoRag paper and aluminum. Prices upon request.

This work was inspired by the Phillips Petroleum refinery fire of 2019 and the subsequent Chevron oil spill of 2021, both of which were located near the ORT Project studios in Crockett, California. This series of photographic prints titled Orxxon creates beauty out of tragedy. As ecological disaster encroaches on an alligator’s habitat, an excess of tainted, jewel-encrusted sea life, luxury products and corporate debris combine to offer commentary on our tasteless consumer culture.

The set featured a live alligator model, “Chewy,” posing on islands constructed in a makeshift pool of non-toxic, colored water to protect her safety.

Limited edition photographic prints on archival Hahnemuhle PhotoRag paper and aluminum. Prices upon request. ©2021

The Alchemist series is a tableau vivant installation built around detritus of the Western civilization incorporating live models. It explores the journey of the protagonist: a woman of age, an alchemist, a seeker. Does she seek immortality through the grail or an end?

Limited edition photographic prints on metallic paper and aluminum. Prices upon request.

Limited edition photographic prints on Hahnemuhle PhotoRag paper and aluminum. Prices upon request.

YESTERDAY’S FEAST: INSTALLATION & EVENT

November 2017 a one night event in the Epperson Gallery Building, Crockett, California.

The small town of Crockett is home to the C&H sugar refinery. C&H is a subsidiary of American Sugar Refining, Inc (ASR). ASR is an international large privately held cane sugar refining company, with a production capacity of 6.5 million tons of sugar. The main feature of the evening was an ORT table installation adorned with sugar.

Limited edition photographic prints on Hahnemuhle PhotoRag paper and aluminum. Prices upon request.

Limited edition photographic prints on Hahnemuhle PhotoRag paper and aluminum. Prices upon request.