The advent of photography as an image-making technology had a profound and irreversible affect on the tradition of painting. If one could capture life mimetically, what did painting bring to perception that photos couldn’t? In our own time, the Internet and its acceleration of images, both in their proliferation and exchange, has had a similar impact on artistic practice.
Marie Angeletti’s work delicately spins an associative web between images that you might find through a Google search. At once a personal cosmology, and a seemingly arbitrary assemblage of images, their combination spins a multiplicity of possible readings.
Here a piano, there a portrait painting; images here speak a little of affect, and a lot of the process of image-making itself. Juxtaposed, spliced together, scanned, rescanned, photographed and re-photographed – these acts of continual reproduction distance the image even further from the subject it supposedly indexes.
Has Angeletti emptied these images out of any possible meaning? Or in doing so has she birthed new readings that speak more powerfully of the moment of image culture in which we unwittingly find ourselves? There seems only a productive ambiguity between these two states.
© Natasha Hoare, 2015