Concept & Design: Barry Laughlin

$1400 unframed

$2120 framed

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BIO Nina Dotti (Venezuela, 1968) is a pseudonym and an avatar. The artist borrows her name from Tina Modotti (1896-1942). An Italian-American photographer and model celebrated for her iconic images, Modotti’s political activism and stormy personal life made her a natural feminist icon from the 1970s on. Dotti’s inspiration originates from sociocultural clichés historically attached to women and female behavior. Defined by French critic Frederic Charles Baitinger as a new-media contemporary artist and a “pluralized woman,” Dotti uses her work to address the contradictions and ambiguities hidden behind women’s roles in the 21st century. [ TOP ]   Statement / Tipping Point "The title of the show, “The Tipping Point”  -- emphasized by pairs of scales as a leitmotif -- refers to that critical point in which little things can make a big difference. “Little things” also are traditionally related to femininity, reducing women’s universe to frivolity, while men’s universe is identified with economic and political success -- or domesticity vs. political power. This explains the reference to “little things” all around the show. The inclusion of the so-called femininity icons is intentionally incarnated by toys -- objets trouvés that the artist patiently collected, then recast into these “ready-mades” heavily charged with irony and causing a measure of discomfort. The conceptual heaviness of these artworks contrasts with their physical lightness. We are not in the presence of the “real thing” but of dummies that emphasize the subjacent theme of segregation in contemporary society. "The Tipping Point" focuses on one of the central pillars that justifies and sustains heteronormativity: the female role and how it is predetermined by a sexual reductive system of a patriarchal nature. It translates genders into social hierarchical archetypes: female–inferior, male-superior. The layer of golden glitter that covers all the surfaces is a trap to the eye: a shiny delusion, a trompe l’oeil that creates a threatening atmosphere of chimera and misconception. Trapped in that vacuous world of appearances and trivialities, our eyes, blindfolded, risk reproducing ad infinitum the archetypical structure that secludes us. Making use of conflicting identity traits, embodied in the pairs of scales, Dotti plays with balancing numerous roles: mother, wife, professional, feminine being. These pairs, presented as dialogic units, suggest a tight internal struggle and, consequently, invalidate the complete fulfillment of both parties and, of course, the self-realization of the identity in play. " Janet Batet [ TOP ]

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