PROMOTIONAL ARTICLE
In all her understated glory, she sits there; humble and full of mystery. It’s almost unsettling, certainly unusual; to see Cindy Sherman as herself without the wigs and theatrical make-up we’re used to seeing depicted in her ever ambiguous photographic work. Sherman works with no intention of presenting a clear message or meaning and I think that stands her in great stead. For her audience to have the opportunity to create their own associations and decisions about her work, without any preconceived ideas of what her initial intentions may have been, is an admirable thing; not many artists are capable of working with that certain air of detachment from the subject and because of this she is also able to keep her own identity at the arms length of her audience and fans.Anyone who knows the work of Cindy Sherman will be familiar with her tongue-in-cheek approach to visual representation. But this time, it is the clothes that bring her to life rather than vice versa. What we may be used to in her over-compensating make-up jobs and prosthetics has now been turned on its head, but why? Does this mean she is exposing herself more than ever before or has she now become the model instead of the subject?With bold attire and very little else in terms of styling, Cindy Sherman has taken on a very alternative role in her latest works. The photographs take on the very familiar darkness she has channelled once before with her works titled ‘Centrefolds’; in fact, ever keen to test controversy, this latest collection of photographs is almost a modern nostalgic nod towards the previous which was notably rejected by Artforum editor, Ingrid Sischey, in 1981 due to fear of negative public responses. And so 22 years later, it would seem she is revisiting her choice to challenge the norm once again. But the question is, does it have the same impact? Her question to society is: ‘What difference does 20 years make to your opinions?’
