Carolina Mizrahi

Cat 01

2016

ABOUT THIS PIECE: The cat is a photographic series shot in Milan for Vogue Bambini in January 2016. ABOUT THIS ARTIST: Carolina Mizrahi creates fantasy ...

ABOUT THIS PIECE: The cat is a photographic series shot in Milan for Vogue Bambini in January 2016. ABOUT THIS ARTIST: Carolina Mizrahi creates fantasy ...

ABOUT THIS PIECE: The cat is a photographic series shot in Milan for Vogue Bambini in January 2016. ABOUT THIS ARTIST: Carolina Mizrahi creates fantasy ...

ABOUT THIS PIECE: The cat is a photographic series shot in Milan for Vogue Bambini in January 2016. ABOUT THIS ARTIST: Carolina Mizrahi creates fantasy ...

Anonymous Women: Domestic Demise In the latest narratives, “Domestic Demise,” the woman becomes the victim of domestic disasters. Her activities, obsessions and objects are overwhel...

The City of Women from the serie Lollipop. Edition: 10 ex "Victoria Lykholot, an artist and lecturer from Ukraine. After graduating from the Faculty of Philosophy in 2007. For seve...

Nicole Furman is a multimedia artist, body painter and photographer from Bogotá, Colombia. Having studied a range of art practices from body painting and performance to art history a...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...