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Birds and insects appear in carefully staged, high-resolution scenes where reproduction blurs into reality, inviting viewers to question what is real through trompe-l’oeil tactics. The work extends to moon symbolism and curated still-life motifs drawn from Japanese and Chinese aesthetics, emphasizing deception, imitation, and the human urge to reshape nature into dramatic 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imagery come from?",{"text":121,"@type":113},"The text notes inspiration from visits to Japan and China, especially in relation to moon viewing traditions, poetry, and garden aesthetics.","https://schema.org",{"og:url":83,"og:type":124,"og:title":65,"og:site_name":95,"og:description":67},"article",{"robots":126,"canonical":83},"index,follow",{"doc_id":128,"site_id":62},567419,1792645327,{"code":4,"msg":5,"data":131},{"doc_id":128,"user_id":132,"nickname":92,"user_avatar":133,"doc_module":4,"category_id":14,"category_name":15,"doc_title":65,"doc_description":67,"doc_content":134,"file_id":135,"file_url":136,"file_type":137,"file_size":138,"view_count":81,"is_deleted":4,"is_public":8,"is_downloadable":8,"audit_status":8,"page_count":139,"language":140,"language_code":63,"site_id":62,"html_lang":63,"table_of_contents":141,"faqs":142,"seo_title":143,"seo_description":67,"update_tm":144,"read_time":145},1374402739827,"https://ap-avatar.wpscdn.com/avatar/14000c97e7351f1a627?x-image-process=image/resize,m_fixed,w_180,h_180&k=1787885694763230660","J L KIL Sn       Us toreS  \n# PA U L KIL S B Y\n\nu n n a t u r a l   h i s t o r i e s  \n218  \n人C.  \nnted and  \nUnn atural Histories  \nThe birds in Paul Kilsby's series Unnatural Histories loom out of the dark likestartled celebrities caught in the headlights,as surprised as we are at the prey theyhold in their beaks.An owl has come face to face with a version of itself in theshape of an owl moth;the markings on the moth’s wings mimic an owl's eyes,buthave failed to ward off the nocturnal monster they evoke.In another photographa goldfinch is wrestling an oversized Jezebel butterfly,seemingly attracted bythe similarity between the insect's colouring and its own plumage.Has Kilsbyuncovered a previously undocumented strain of narcissism in the animal kingdom?In fact these images are reproductions of reproductions:the birds aare examples ofthe taxidermist's art purchased by Kilsbyternet,cunningly constructedfacsimiles of their living cousins in what we must now call TRW(the real world).Photographed in high resolution,engaged in apparently natural activities,theyreturn to life through the portal of his lens.  \nOthers travel in the opposite dlirection.The French ffor'still life'is nature morte,ings of the 18thand I9th centuries teem with the contentsonto tablesalong with meticulously rendered vegetablesand fruit.The arion between nature and death continued into theera of photography;earlycameras and films were too slow to capture birds inflight and photographers relied on hunters or taxidermists to supply them withter.Almost two centuries after the first photograph,close encountersnd animals are restricted for many of us to noad-kill laid out on thesearched forthe VICinityions that recal worksCotán-apart,thportrait of a blackbird that has crash-landed amongthe grasses in Albrecht Dürer'sThe Large Turf.If nature has retreated from our  \nworld,ghost images have crowded in as we Photoshop,flter and digitally alterthe biographies we share online.Kilsby,however,relies on pre-digital methods ofdeception.The camera is easily fooled,unable to distinguish between reproductionand reality.Objects are unstable:insects grow extra wings,plastic grrapes acquire arealistic bloom and apparently three dimensional elementsped from booksor conjured from the air by his brush.  \nThe human urge to improve on nature is universal,expressed through art,gardening and genetic modification,as welteleviSion docuumentaries that editthe natural world to counter its lack of dramaticstructure,adding atnmospherewith the insertion of musical scores.The FloraNova series pays homage to 3previous generation of ilusionists,the Dutch artists of the Seventeenth centurywho catered to their patrons'whims by subverting the seasons,painting luxuriantarrangements of flowers that would never have bloomed simultaneously beyondthe imaginary realm of art.Kilsby goes further still by using artificial flowers a三well as real ones,grafting one species of plant onto another to create entirelynew and exotic hybrids.Nothing 15 neceessarily what it seens.In Still Life withSunflower Seedsan egg rests on a shelt to two sunflver seeds,refugeesfrom Ai Weiwei's exhibition at Tate Modernin 2010.Behinem the stem of amonstrous flower leans forward under theweight of its three blooms,a rose,adahlia and a carnation.The seeds are illusonistic,we know;the 100 million of themthat covered the floor of the Turbition were handcraftedin porcelain by skilled artoo isartificial,Kilsby tells me,the kind tfoolit into laying.Kilsby has meticulously pof a natural object.  \nIn complete contrast to the Nature Morte andNova images,in whichintense,almost hallucinatory colourmonochromebackgrounds,Kilsby's bla  \nover water,inviting our conntemplation while reflecting our humanity back to usthrough the intricate trompe I'ceil patterns of marble,wood and glass he haspainted on their surfaces.Inspiration for the series is drawn from several sources,but particularly from visits made by the artist to Japan and China,where t","cbCaio2HnQ2rc6TE","https://ap.wps.com/l/cbCaio2HnQ2rc6TE","pdf",3366441,84,"English","# UNNATURAL HISTORIES\n## Staged taxidermy and documentary parody\n## Reproduction versus reality\n## Nature morte, still life, and visual deception\n## Moon symbolism and cross-cultural inspiration","[{\"question\":\"What is the central idea behind Unnatural Histories?\",\"answer\":\"The series stages taxidermy and still-life scenes to parody natural history documentaries, using carefully constructed images that blur reproduction and reality.\"},{\"question\":\"How does the series create a sense of deception or unreality?\",\"answer\":\"Kilsby relies on pre-digital methods of deception, using imagery that can’t be reliably distinguished from real life, including unstable details and illusionistic surfaces.\"},{\"question\":\"Where does Kilsby’s inspiration for some of the imagery come from?\",\"answer\":\"The text notes inspiration from visits to Japan and China, especially in relation to moon viewing traditions, poetry, and garden aesthetics.\"}]","UNNATURAL HISTORIES - In this series | PDF",1791866329,129]