“Anna Fur Laxis 1, 2011” 4.25”x6.5” Cabinet Card by Atelieri O. Haapala
Panopticon Gallery just hosted an opening for their new show “Dress Up!” that was a call to “come out and play!” The show, which will run through July 9th, features four photographers who integrate a variety of masquerades into their work. And “dress up!” people did, in droves. Undoubtedly the highlight of the evening was the on-site studio of the husband and wife team from Finland, known collectively as “Atelieri O. Haapala”.
The Baron 2, 2012” 4.25”x6.5” Cabinet Card by Atelieri O. Haapala
“Dress Up!” has plenty of O. Haapala “cabinet cards” on display, as well as full-sized portraits, which sparked curiosity, high spirits and long lines for a turn to appear in one’s own version of this novel Victorian relic. Not your average carnival booth fare, these tongue-in-cheek portraits possess the most critical elements for any successful parody – they are precise and serious enough to look authentic. And the craftsmanship is outstanding.
“Saint Ortho, 2012“ from the series Exceptional Holiness, archival pigment print by Eileen Clynes
The work of Eileen Clynes shares one or two similarities with the portraits of O. Haapala, with a significantly different outcome. Clynes enjoined the help of her friends to appear individually as Catholic “Saints”, dressing and posing stereotypically, surrounded and adorned (post-production) by kitchy altar artifacts. Each “Saint” is accompanied by a prayer card, cleverly accurate in its tone and structure, and equally satiric in its wording. The prayer card for “Saint Ortho” pays homage to the “Patron Saint of Restoration for a Woman’s Choice”, while the Saint herself wears a halo fashioned from the familiar round container for birth control pills. Similarly, there is a portrait of “The King”. Far from impersonating Jesus, Clynes’ icon is the much more familiar Elvis impersonator, the “Patron Saint of Taking Care of Business”. Clynes’ “Saint” portraits are, like the work of O. Haapala, highly stylized and spirited parodies. At the same time, they are completely modern. Vibrantly and colorfully crowded with fake religious iconography, I found them delightfully subversive.
“Katya and Chris, 2012” from the series Jacques, archival pigment print by Keiko Hiromi
Keiko Hiromi’s “street style” color photographs take a more serious turn, portraying individual drag queens in the process of preparing themselves to become someone else. Hiromi makes liberal use of mirrors, perhaps to be less intrusive, but the effect is to make us into voyeurs. Her use of harsh flash, angular shots and some purposeful lens distortion heighten this effect. Often, Hiromi’s subjects seem dichotomous: appearing in ebullient and celebratory dress and make-up, their mood serious or pensive. This work is an intriguing reflection on the concepts of image and self.
“Superman With Coffee, 2013”, from the series Michael, 20x30 inch archival pigment print by Rick Ashley
Rick Ashley takes his exploration of identity a step further with his series of portraits featuring his brother-in-law, Michael. Michael has Downs Syndrome and Ashley’s work with him has a long and deep evolution. The current series of “Michael” portraits are dramatizations of paintings by artists such as Hopper and Sargent. But these photographs have triggered controversy because Michael is wearing a Superman suit. Has Ashley stepped over some line or is he a victim of overzealous political correctness? Why are some viewers amused while others are reviled? I had an opportunity to talk with Ashley about his divisive Superman series; you can read excerpts of our conversation in a blog I will be publishing soon. Stay tuned!
The King, 2012“ from the series Exceptional Holiness, archival pigment print by Eileen Clynes
Whether you want to keep it light or go deep, “Dress Up!” is a great excuse to visit Panopticon Gallery, located in the Hotel Commonwealth, Kenmore Square, Boston.
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