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
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
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.
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