![]() I’m interested in the codependency of humans existing in spaces along with other really important information. “I’m not interested in the hierarchy that portraiture suggests. “What’s the significance of the difference between a person and a chair, in terms of social or cultural value?” the artist has wondered. In other paintings it is a set of speakers, a fan, an iron, knives on a wall-mounted magnetic strip, a purple jacket, a door, a window, a seafoam-green toilet seat, a mattress, the cuff of a sleeve-minor-seeming details-that pull the gaze, give shape and dimension, albeit shifting and wayward, to Packer’s images. A different version, a previous possibility, the multitudes of a body? Jennifer Packer’s portraits hold time, reveal its passing and their making within it. Look closely: peeking from beneath the cushion on which his feet rest is another pair of feet, half-sketched but identical. A topography of tenderness and solitude-the heat of a body in quiet repose-existing, being seen. Modeled with the merest of dark lines, the flesh of Tobi’s feet is rendered in swathes, patches, dabs, smears, scrapes of ruby, cerise, fandango, bubble gum, carnation pink. In Tobi (2019), a vision in magenta, legs drawn to his chest, bare feet snag the eye. Hands, again, in Jess (2018), gently folded in the lap, again, their painted lines energetic, elastic, careful, as in full of care, one fuchsia nail throbbing quietly among the rest, a smudge of violet on the knuckle. The pillow case behind Tia’s head, flowers again, smaller and more delicate, purple, pink, periwinkle, green leaves and stems scattered across white, Tia (2017). Tia’s feet, sole of right resting against arch of left, her patterned socks with their turquoise toes and bright floral sprays of orange, crimson, yellow, indigo. I am transfixed by Tia’s hands, which sit folded in her lap, flickers of rose, salmon, watermelon pink for nails. ![]() ![]() An online version of the exhibition (including images, video and audio interviews, and more) is available on the gallery’s website. Jennifer Packer: The Eye Is Not Satisfied With Seeing, curated by Melissa Blanchflower with Natalia Grabowska, Serpentine Gallery, Kensington Gardens, London, through March 14, 2021Įditor’s note: As of this writing, Serpentine Gallery is temporarily closed to the public due to COVID- 19 concerns. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |