The “pretender” is a comprehensive project that contains a series of small pieces of work conceived as an illogical story board , hallucinatory through its apparent narrative. what actually emerges as area of interest is the contrast between imposture and the identity of disguise and reality, but also between character and context. by reconstructing feminine “patterns” without actually disguising them the contrast between the artificial and the way the image gets to suppress reality by placing these “types” of femininity in an inappropriate context is highlighted- a spy wearing a leather coat at the seaside together with a family from the 70’s , for example.
Monochrome is purposefully selected to “translate” the photo in a painting and the reduced size forces the viewer to get closer (a reverse of the usual process of looking at a painting from a distance) as if he was looking at an intimate family photo.
The feminine patterns restored by the costume of improvisation vaguely remind of characters made famous through various means: literature, film, fashion, advertising, without being strident. Similar to fashion, that “look”, either inspired by a certain era, or by a clearly defined cultural context, is recomposed not by a stage costume but by ordinary clothes. Similar to fashion, the shape is kept, with small variations, but the content is completely distinct. the repeal of a certain cultural period fails to “revive” and what belongs to it intrinsically is only a formal recall.
The pictorial approach of the project is intended to reconfigure the photorealism as a process of “translation” of photography into painting; a pictorial gesture of precision corresponds to each tonal photographic difference. the miniature size bring into question the viewer- painting relation, the viewer has to get closer but not as much as in the case of family photos. the contrasts do not just resume to formal but they are also present at a conceptual level. Apparently, the familiarity of context is also due to the existence of a pattern – the old photos are already collected, family photos from the 70s-80s have already an unmistakable specificity; there is a contradiction between the unanimously identified pattern and the personal character which is supposed to exist.
Moreover, the models can be recognized but they are also depersonalized by the adopted disguise. the contrast between the character and context seems arbitrary but creates an narrative illusion, ironic; despite apparently belonging to the ensemble, the pattern-character is detached from the context, he alienates himself from the message.
The excessive miniature fragmentation makes the idea of pattern even more obvious; the portrait can become unrecognizable but identifiable as a pattern through repetition.
Social irony regarding the female imposture is revealed through these contrasts. subjected to a pattern, oversaturated with “trends”, shaped by social expectations, the contemporary woman estranges herself from the direct experience in a representation, bringing closer to her the imposture until she identifies herself to it.