Handwerker Gallery Newsletter
Spring 2003 – Volume 5, Number 1
Born in Yugoslavia, Breda Beban teaches critical theory and directing at the Northern Media School in Sheffield, England.... Her work has been shown at the Kunstmuseum, Thun, Switzerland; Tate Gallery, London; Zentrum für Kunst und Medientechnologie, Karlsruhe, Germany; and Art Gallery of New South Wales, Sydney, Australia.
My point was that such perception, such distinction would help us see Fragonard uses of the female body in a more nuance way, that the older type of argument-- i.e., the idea that we have here a classic scenario of male artist feeling free to fantasize about sex by representing a female body-- may only go so far, that it does not really allow us to get beyond iconography to the formal, or, as I would like to insist, morphological register of these paintings.
Put simply, I used the letters of the title to locate points on a grid to initiate a complicated multilayered compositional process somewhat similar to subjecting a short musical motif to a series of transformations.
The Kinross series provided a temporary break from complexity: In these paintings I worked more intuitively and with fewer elements, of a somewhat larger scale, in simpler compositions. All of the paintings in this series have irregular boundaries and simple color schemes in which large areas of color contrast with linear structures are anchored to the edges of the format.
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Global Video Art: Talking with Breda Beban
What did Fragonard do?
An exchange with Ewa Lajer-Burchart
From the Permanent Collection: Kinross #10