{"id":49648,"date":"2018-01-25T12:12:37","date_gmt":"2018-01-25T11:12:37","guid":{"rendered":"http:\/\/centmagazine.co.uk\/?p=49648"},"modified":"2018-02-15T12:56:53","modified_gmt":"2018-02-15T11:56:53","slug":"exposed-more-than-meets-the-eye","status":"publish","type":"post","link":"https:\/\/staging.centmagazine.co.uk\/?p=49648","title":{"rendered":"Exposed; More Than Meets the Eye"},"content":{"rendered":"

\"EXPOSED-colbert-1\"<\/a>Benefit Supervisor Sleeping<\/em>, 2017, cortex steel, LCD screens, moving image, 132 x 265 x 80cm.<\/p>\n

There\u2019s a reason why most people don\u2019t usually show off their passport photos. The no-smiling policy, ears on show and mug-shot angle aren\u2019t meant to flatter one\u2019s best features. As an ever so popular art form, portraiture has taken on many media and styles to highlight certain traits of the subject in the name of power, wealth, beauty, etc. Beyond the meticulous compositions, and sometimes unrealistic retouching, there\u2019s an artist and his subject (and even another artist, at times).\u00a0To contextualise this in the here and now, Charlotte Colbert has reworked Sue Tilley\u2019s portrait by Lucian Freud, in her moving-image installation to intensify the gaze during their rendezvous.<\/p>\n

The original painting featured in Charlotte Colbert<\/a>\u2019s anthropomorphic series is called \u201cBenefits Supervisor Sleeping\u201d (1995), a nude portrait of Susan Tilley lying on a couch with a certain discomfort, by Lucian Freud. By day she worked as a job centre supervisor, by night she was the heart of the party, and memorably Susan was Lucian Freud\u2019s muse behind the \u00a335.8 million pound artwork. On an interesting encounter through a friend, Leigh Bowery, met the artist who will put her on the map as his \u201cFat Sue\u201d. Little did Lucian Freud know at that time he would embark on his 4-year career hiatus, through his signature extensive examination process. Susan was a believer in body positivity, happily comfortable in her own skin and unapologetically in tune with her couch loving side. After hours and months of observation and hard work, friendship and laughter, Freud\u2019s realism undeniably reflects great authenticity down to all her curves and edges, folds and expressions.<\/p>\n

This fixating yet observant aspect of Lucian\u2019s style doesn\u2019t go unnoticed, of course. As a moving-image sculptor, Charlotte Colbert<\/a> is on a mission to shed some light on the fruitful encounter between Freud and Tilley, to explore and extend the relationship between an artist and his subject. Scattered among her rusted corten steel screens, the black and white footage of Susan\u2019s body is edited to showcase details and textures to put forward the obervational, self-reflecting notion of the unspoken chemistry. \u00a0An exchange controlled by the subject, a twist on the “traditional” male gaze. Exhibiting at the same studio where Sue and Lucian worked together, the mix-media artist\u00a0embraces every little trace left behind by the duo \u2013 even the contextual floorboards that were once the accidental canvas to the splattered paint from executing Sue\u2019s portrait.<\/p>\n

Perhaps there\u2019s no better timing for Colbert to display this piece \u2013 between Susan\u2019s recent illustration collaboration with Fendi and the media\u2019s struggle to maintain \u201cbody ideals\u201d, the iconic personality is once again celebrated. Articles on Susan Tilley may be over-flowing right now, but above all her triumph doesn\u2019t reside in the written realm, but in the given fact that she’s an\u00a0inspiration in the artistic world. As\u00a0Charlotte Colbert<\/a>‘s intention\u00a0is to immortalise the gaze shared between both parties\u00a0via a new medium, she adds a layer of depth only time and technology can bring to the piece.<\/p>\n

Press information<\/p>\n

Duration: 24 Jan – 18 Feb 2018<\/p>\n

Address: UNIT9, The Huntingdon Estate, Erbor Street, London, E1 6A.<\/p>\n

If you’re interested in reinterpreted art, it’s worth looking into the following pieces:<\/p>\n

Fernando Botero’s take on the ‘Mona Lisa<\/em>‘ by Leonardo Da Vinci (1517):<\/p>\n

\"EXPOSED-DaVinci-Botero\"<\/a>‘Mona Lisa’ by Fernando Botero (1978).<\/em><\/p>\n

David LaChapelle’s take on the ‘Last Supper<\/em>‘ by Leonardo Da Vinci (14980):<\/p>\n

\"david-lachapelle-alex\"<\/a>‘Last Supper’ by David LaChapelle (2003).<\/em><\/p>\n

Deborah Kass’ take on ‘Liz<\/em>‘ by Andy Warhol (1965):<\/p>\n

\"deborah_kass_yellow_deb_1024x768\"<\/a>‘Yellow Deb’ by Deborah Kass (2012).<\/em><\/p>\n

 <\/p>\n

To read our last article on Charlotte Colbert’s work, click here<\/a>.<\/p>\n

To find out more about\u00a0her work, click here<\/a>.<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

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