Abstract
Christina Mosegaard's Baroque Vision:
Of Folds, Faces, and Stillness
The most intriguing thing about Christina's pictures, at first glance and superficial inspection, is the striking contrast between the stillness of her icon-like faces, and the dramatic circumvolute motion of the folds. But are they really so radically different in their nature, poetics, and visual constitution? Let us come close to these images.
One can no doubt identify the Baroque pattern of the fold, its endless coiling creating - like a melody - twists and turns, on the surface of Christina's two Crossfolds. Fold upon fold, fold after fold, this is, according to Gilles Deleuze, the fold (le pli) in the soul that goes on to infinity. But the fact that Christina's folds move within the squared surface of the paintings, the confined interstices of her canvases, turns her visions into some majestic portraitures of the Fold. Indeed, the squared space, like a resonant box, renders audible the inaudible from inside. It brings forth dramatically these laminar sounding patters of the fold - the magma that is inside the soul and behind the unseen face. Her poetical vision metamorphoses completely the atomic cohesion of the fabric; it transfigures it into new strata of geological matter, into the still, petrified translucency of the marble-like folds. The folds are in the soul like the veins in the marble, says also Deleuze; the same image is applied to the soul and to the marble. It is why the folds in Christina's paintings are like still portraitures, iconic faces, indeed, whose identity (persona) is still encrypted behind the veil. True to her singular vision, the Icons seem to echo back in their subcutaneous tissue something of the opaline, iridescent vein of the marble-fold.
Nicoletta Isar,
Copenhagen, 29th August 2008
| Original language | Danish |
|---|---|
| Publication date | 2008 |
| Publication status | Published - 2008 |
Keywords
- Faculty of Humanities
- fold; face; stillnes