Opening
 
 
 

 



Yvonne | 2009



Union City Blue | 2010


Boys Keep Swinging | 2010


Electric Avenue| 2010





Power Drift | 2010




If Paradise Is Half As Nice| 2012





Linda laughing | 2011



Obsesssion | 2012


Tomorrow Flamingo ! | 2012



True Colors| 2010





Opening


It is precisely in a time of crisis, when the market economy can no longer conceal its ugly side so well behind the sheen of consumption, that the appraisal of unbroken beauty is held constant. The yearning for beauty, that for some is the hope of better times to come, and for others an aesthetic resistance against a barren and inhospitable world. In this sense Catrine Val relates exactly to this definition. She slips into the role of each and every model. Out of the stencils and codices of youth the viewer is confronted with their bodily anomalies.



La nuit américaine | 2010

For this reason, the person depicted on the photograph usually seems utterly out of place, incongruous, inappropriate, shoehorned into absurd geometric correspondences. The clothes may be an allegory for this carefully "fitted" incongruous inappropriateness, although these almost never have to be made to fit the person shown in the picture. The figure in these selfportraits does not have a place anywhere; her time is not the present, and the moment depicted is an impossibility. In a very literal sense, Catrine Val invests herself in others: she puts on her own children's clothes or those of old ladies who have, with heavy heart, handed over their best garments to a thrift shop. She dispossesses her own body, which she then turns into a stage for the self-fashioning of others. This makes her into a self-stranger. She gathers the trophies of past styles.

Malone| 2010

To maintain itself this business must be exceedingly flexible and adaptive. Our times are filled with a wave of narcissism and an obsessed cult of self-expression.The tempo is ever more rapid and in its discrepancy this construct as a vision becomes forever more unattainable. The model as an abstract idea becomes nothing more than a form. Fashion is deceptive.


DENVER & DALLAS | 2010


It is a Player that pretends to rip: The duration away from our modern fast moving times and to be indispensable for a timeless period. As long as you are on their level, there is a strong feeling of being contemporary. However, the ideal body appears as a constant factor transported through all of these changes. The transience of youth and a potential estimation of naturalness is suppressed in favour of the perfect silhouette.



Formicula | 2009


A core mode of operation reveals itself exactly in these human players. Gender identities and gender roles tend to be particularly reinforced in fashion through selfdramatization. As in her project cycle this work broaches the subject of media strategies in the world of glamour. Along her tightrope walk through irritation, satire, and vulnerability she uses as basic elements the make-up, wigs, clothes and professional photography of the Fashion System. The electrifying moment of triumph is near.
The unseeing gaze of the glassy eyes sparkling between star-like lashes might also suggest that we are looking at a doll if it were not for the beauty spot as the punctum of the image. Located on the narrow strip of skin that can be seen between the upper and lower parts of the dress, which are held together by curtain rings in a way reminiscent of some of Courrèges' creations, this beauty spot is a sign of the times.


She Bop| 2012


The cave scenario, which might easily have originated in a natural history museum of the past century, immediately reveals itself as a piece of theatrical staging; one can see the barriers around the display. The women sitting by the fire is utterly out of place thanks to her yellow polka-dot outfit with matching rucksack and highlighted hair: she is evidently neither a Stone Age person beyond the pale of fashion nor a woman of today, but can rather be definitely dated to a particular moment and a specific look that is now completely passé. In mourning clothes, swaying the hem and ruching of her dress, Baudelaire's passante comes towards the viewer not as part of a crowd but alone out of a dark tunnel. Although the entire picture is lent rhythm by its black-and-white contrasts that might seem to suggest formal integration and unity, the scrupulously careful, touchingly childish and grotesque manner of dress of the person with its solemn, almost priest-like black, carefully ironed frills and lily-white gloves and freshly whitened shoes stands in striking contrast to the unspecific, rather shabby, prosaic tunnel, located somewhere that could be anywhere, like so many scenes in city landscapes of Modernist art. God only knows how the woman ended up there. As a weird-looking variety artist who might have stepped out of a picture by Toulouse-Lautrec, with dazzling lace and bizarre little hat like a sort of baby doll, she draws open the cheaply sewn curtain of a stage whose battered edge could also do with repainting.
It would be hard to be "out of line" in a more appropriately inappropriate way. Correspondences cannot be more geometrically distorted without the whole thing breaking down completely. It would be impossible to assimilate more unassimilable material.


DONKEY MONKEY | 2011



































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