Working on a canvas of Sigmar Polke entitled Das Parfümbild, investigating the journey of the famous brands which successive fashions ultimately cause to wither away, focusing on the impact on their logos and graphics, Nadia writes:
“I simply reproduced the cracks that are scarcely visible on the magenta surface of Polke’s canvas. He painted with enamel on an unprimed canvas, something that led inevitably to the formation of premature cracking. I believe his gesture was not at all innocent, especially because he is an artist of German Pop Art who focuses precisely on fashion and probably by extension on the world and market of art. The cracks impart a sense of brevity to these two worlds which in our own day and time resemble each other in a strange manner. By etching one-to-one and on a real scale, I consistently reproduced each little fissure present on Polke’s canvas. I subsequently inlaid each fissure with a hair.”
The human material, the hair, inserts itself into these now-alive fissures like an intrepid serpent within commercial markets that are impelled with commensurate inexorability towards their loss, inasmuch as the fashionable is inevitably succeeded by the out-of-fashion in a continuation of Nietzsche’s vision where fashion is defined in relation to what is no longer contemporary.
In these apparently aleatory graphics that arise out of a discreet implosion of artistic material, there emerges a mood of folly and gaiety that is almost infantile and that thumbs its nose at perfection-engendering techniques and expertise, indicating that the catastrophic space is more fertile than excessively well-applied arts.
– Michel Sicard, 2017
