Tracey Moffat

Laudanum 1999

Tropes used by Moffatt:

Theatrical staging including “painted landscapes assembled in the manner of stage sets” and “mock historical setting[s]”.[1]

“Moffatt openly accepts the seductive effects of cliché-ridden, emotionally charged images from the realm of popular culture and appropriates their strategies for her own purposes.  She accepts the existence and significance of the everyday myths engendered or represented by these, myths with which she had grown up and which have become part of her life”.[2]

“Areas of poor focus, scratches, flaws and the superimposed images … suggestive of double exposure”.[3]

“collective inventory of images in which inspirations from autobiography, advertising, trivial-aesthetics, the cinema and art history are melted down to form hybrid, bastardised pictures which stubbornly resist clear interpretations simply because they remind us of everything”.[4]

“The promise of consistent information seemingly voiced by the surface of the photos is nothing but illusion: a flickering, shimmering mirage…”[5]

[1] Brigitte Reinhardt, ‘Creating One’s Own Reality’, 1999, p. 19.

[2] Ibid, p. 20

[3] Ibid, p. 5

[4] Stephan Berg, ‘Somewhere’ in Laudenam, p. 38.

[5] Ibid.


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