So what? I kept asking myself at the private view in Diemar/Noble gallery. Tagliavini’s portraits fascinate for their exquisite polish and rich textures, for the play between well-chosen painterly references and photographic realism. However, I sensed a sad lifelessness and aloofness in the empty stares of perfect beauties, typical of so many fashion portraits from which these photographs could well originate.
I try to approach new artworks asking myself two questions.
1. What do they make me feel?
2. How do they change my way of seeing the world?
In the case of 1503 & Dame Di Cartone the answers are the following:
2. They don’t.
I presume one could argue the value of these works with artsy rhetoric on how they link past and present via a skilful use of the photographic medium, etc. etc. Or one could lean on the hardship of the creation process itself, on how the artist meticulously confectioned the costumes or layered the cardboards, but will it matter? This is not photojournalism, where we might need to know what is going on. For me, an artwork has to speak strongly by itself, not matter how the result has been achieved, be it chance or hard work. I believe that knowing the background can help better comprehend motives and relationships, but it must not be the main appreciative argument.
Cut Out & Keep
03 Nov 2011 – 07 Jan 2012
66/67 Wells Street