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Annette art pantyhose

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S ome people remember their childhoods well. They remember what it felt like to play and pretend.

Their childish personas have vanished behind clouds of amnesia. Still others, some of whom are artists, continue to play and pretend all their lives. The French artist Annette Messager is still playing hard, as is clear from a visit to the Hayward Gallery's retrospective, The Messengers, the first major show Annette art pantyhose her work in England.

When looking at Messager's art, I have always felt a strong pull back to my own early life, to the reveries, fears, cruel and kind thoughts, magical feelings and fantasies that were part of play - not organised play or sport, but unhindered free play. We all lived in that fertile, labile world once, and in Messager it returns to us with force. I am not saying that her work is unsophisticated or that many artistic influences are not present in it, or that her pieces are in any sense infantile; rather, that the impact they have on the viewer is connected to the universality of play.

He argues that the search for a me happens Annette art pantyhose "an unintegrated state of the personality", or during what he calls a "desultory formless functioning".

In other words, when we play freely, there is a loose and unstructured quality in us that allows for exploration and discovery.


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