On the occassion of Drawing Now 2018, Silencio will be presenting Nina Mae Fowler's solo exhibition Death Takes A Holiday.
"I want to express the sense of human emotion that we experience as viewers at the cinema compared with our everyday lives. I want to emphasise the universal emotions we feel, by extending the moments that give rise to them, and highlighting this extremity of sensation through my drawings. I am intrigued by the lengths Hollywood will go to, to protect its stars. I am intrigued by the lengths we will go to, to forgive them. Figures such as Roman Polanski, Mel Gibson, Casey Affleck have all been accused of serious wrong doing, yet they are still applauded at the oscars. We still watch these films - what does that reveal about us? Something Marlon Brando said: - you want to stop that movement from the popcorn to the mouth. Get people to stop chewing. The truth will do that"
Nina Mae Fowler
British artist Nina Mae Fowler is known for her sumptuously detailed large-scale drawings created with sculptural counterparts, often set within ambitious installations. She treats her subject matter as a crucible of our own, taking on the role as both archivist and investigator to create startling new narratives through the lens of a bygone era. With her drawings, themes such as - fear, desire, grief, tragedy, intrusion, exploitation and violence - collide in a dynamic spectacle of decadence and decay.
Preoccupied with Hollywood's 'golden age', Fowler revels in the era's sheer visual richness, at the same time as critiquing our culture's obsession with stardom, as well as the ubiquitous presence of the photographic lens in the reception of imagery. Fowler's use of labour-intensive manual draftsmanship is integral to working with the instantaneousness of cinematography and the immediacy of monochrome.
Fowler's interpretations of the gods and goddesses of a bygone era call into question our contemporary appetite for celebrity, consequences of voyeurism, and the naive acceptance of the appearances of fame and glamour. There is an unsettling parallel between Fowler's work and the current debate surrounding the abuse of power in the film industry and beyond. We can read elements of these installations as interrogations of institutional misogyny and in by confronting us with this, we are forced to question our own complicity in this endemic problem.