"Computer
or digital art often looks as though it is created on a computer...This
is not necessary.
Shircore
has proven that, ...Looking at them it is impossible to tell...this
opens up a brave new world where the impossible has now become
the possible."
Arthur Hacker, Asian Art News, September - October 1997
"The writings and chops are immediately evocative of the Celestial Kingdom of old and Britain's days of empire building. But these are no mere flights of fancy. The source materials for this series were the original documents that the British and Chinese governments signed when Britain took control of Hong Kong".
International Designers Network Magazine, March - April 1998
"Pat has
made a break-through in Fine Art. She has used the original
textures of the source material as paint, the tools of
the colour separator as brushes and the mult-layered properties
of the monitor as her canvas. This imposes a fresh definition
on the working medium and opens up the realm of digital
art.
Like many other masterpieces which depict historical events,
from the cave paintings of ancient times to the 'Guernica'
of Picasso, Pat Elliott Shircore began with a historical
idea. However, it is not essential to understand the contents;
the artwork stands on its own and one can enjoy its superb
visual richness"
Space Magazine,
February 2000
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"Sound
a little dull? Hardly; the Foreign Office copies are bound in crimson
clothboard and carry the standard yellow classification labels, while
the Chinese ratification of the Convention of Peking is bound in two
wooden boards covered with fine silk brocade, lined inside with yellow
Emperor silk and fastened with yellow silk ribbons. These colours, together
with the beauty of the chops and seals, truly bring the story of Hong
Kong to life."
Stuart Lawrence, Cathay Pacific Discovery Magazine, February 2000 |
