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In the Fashion series (1983-1984 and 1993-1994), which originated from fashion houses, the register is satirical and without nuance, we drop the irony to indulge in a biting humor. Cindy Sherman through the “grammar” of “people” photographs ( acerb flash, frozen smiles of predators, extravagant and ostentatious outfits, etc.) underlines the emptiness of this sadomasochistic game. Yet most of the women she plays, it seems with delight, seem haunted and threatened by the anguish of “no longer being,” disappearing from the game.
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