Vine discloses an overly familiar
relationship to media culture, where public image is blurred
with personal fantasy, and high drama is vicariously played out
as a ‘too-revealing’ extension of self. Often picturing tragic
heroines, such as Princess Diana and Kate Moss, Vine’s portraits
are poignant, reverential, and comically funny, describing not glamorised ideals, but strong women, made more
endearing by their problems. Transcribed with faux-naïf style,
Vine’s figures are portrayed with empathy and envy: their
surfaces thick and gushy with emotion, their features
exaggerated with genuinely misconstrued flattery. Casual and
irreverent, they offer a girls’ world of escapism: filled with
fairytale, fashion, romance, and scandal. (Patricia Ellis)
Berlin based CORINNA WEINER recalls the painterly figuration of
the 1950’s Mod Brit period. Her use of paint is instinctive and
physical, and represents the communicative potential achieved
through expressive materiality. Often using the self portrait
format, Weiner builds a brooding atmosphere and subverts the
self by removing, cropping or covering facial features. Self is
objectified as body, becoming vulnerable in the process. This
underlying threat is overtly sexual and combined with the
physicality of the paint, creates an uneasy psychological
presence in the work. |
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