3 May - 6 June 2002
On first glance, the installation looks like political
propaganda. The tableau contains an iconic double portrait
whose subject is spread across each of the two walls
opposite. A group of fliers below provide questionable
information in support of the man and his ideology.
The reader expects to find a political manifesto but
is met instead with an array of intimate personal details.
The imagery and text refer directly to the author's
lover (whose charismatic face is featured in the double
portrait painted in a style made famous in The West
by "cult of personality" figures such as Mao, Stalin,
and Saddam Hussein).
The dreamy romantic reverie adopts the idealistic and
fanatical tendencies one would find in a political manifesto
or the texts of religious dogma. The impassioned rhetoric
is utilised to express a lovesick struggle for one-upmanship.
In addition, the sacrilegious use of its form exposes
the naivety of its maker. It reveals how world politics
can become redundant when one is bent on the pursuit
of fanatical love and fervent desire.
The scene is set for love, hate, obsession, and fascination.
There is glamour, passions and power plays made by one
desperate lover towards the other. Inner tensions are
brought to the fore with all the embarrassingly sentimental
hero-worship, self-centred positioning and paranoid
musings layed bare. The viewer has the opportunity to
ponder the material without the imposition of being
personally involved. She/He can scoff at the lovesick
ramblings, smirk a wry smile of recognition, or shake
her/his head in weary dismay.
"A voyeuristic journey to the interior of one woman's
struggle for perfect love in a crazy world." Sharon
Lovetruck, author of "The Sweet Morning After."