Act I, Scene I: It is a small room but it has many openings connecting it with other similar rooms. It is seen from the top view. All the rooms are empty but the walls pulsate, sometimes faster and sometimes slower. The set is alive to the rhythm of breath.
“If it is quite the same to you, I would prefer not being a supporting character in my own story.”
As she screams those words to herself, she sees herself for the first time. A new journey begins which, at least initially, is characterised by loneliness and doubt. Slowly, she sheds off all those people who took her to be a minor character. She stops herself; she catches herself as a player in someone else’s stage directions. Continue reading “Many A Slip”
In the Eternal Evidence, René Magritte portrays the idealised nude as an assemblage of body parts rather than a whole. Undeniably, at a distance it is still possible to read the image as a single subject; however, as one gets closer to the work the fragmentary nature of the object dominates the vision. The fragments are constructed by a gap that is composed of two distinct elements –the emptiness between the framed canvases that is suggestive of the missing parts of the painting, and the frame around the canvas which defines and articulates the part. The disposition of the canvases on the wall surface in their deliberate misalignment ensures that they appear as if they do not quite fit with each other. Magritte was known as an artist who ‘rendered thought visible’. I would like to suggest that in this particular piece of work, the design of the gap is as much a part of the painting as the fragments itself, and allows the provocations fundamental to his work to reveal themselves – the ideal nude as a set of perfectly formed parts that do not necessarily fit perfectly together. Continue reading “Mind the Gap!”