Plender's re-treading of this territory is never misled;
the issues she tackles are done so with a pragmatic,
often sardonic tone. As a result, she becomes a critic,
not a subject, of the artificiality and (sur)reality
she attempts to deconstruct. She is quick to point out
the fallacy and absurdity rooted in Zola's literary
counterpart, The Masterpiece, stating that "when
[the novel] was first published, the impressionists
were worried that the novel would be used to attack
the new [avant-garde] style of painting. But to the
contemporary eye the hackneyed suffering of the book's
genius seemed ridiculous". Throughout her visual
reconstruction of the same world Zola created in text,
Plender is never disillusioned by the romanticized realm
into which she submerges her characters. Even in conversation,
her references are diverse, bordering between nostalgic,
postmodern sentimentality, and poignant cultural ethos:
"I am simultaneously fascinated and repulsed by
[
] the idea of the 'Byronic' Romantic hero. [An
idea] lived out by everyone from Lord Byron to James
Dean, Jackson Pollock to rock stars. It is exclusively
male and generally does not take into account the fact
that a masterpiece is rarely the work of a lone genius
but generally evolves out of a social milieu or scene.
[Nick] is a satire on this idea of the 'lone genius'
".
Nick, the artist [of the Masterpiece,] represents a
cultural stereotype in the mythology surrounding the
idea of the genius figure
.Even though [he is a]
disgusting character [he] perhaps represents [
many
individuals] involved with the art world. One of the
reasons behind making this kind of comment within a
fictional narrative is that there is an ambiguity about
who I am criticizing. (Plender)
In conversation, Plender discusses with joking reflexivity
an upcoming episode of The Masterpiece, which borrows
as much from the mythologies of real artists as it serves
to create Nick with a mythology all of his own. The
unfinished work (presumably episode four) sees Nick
confronted with a discussion about the nature of art
and the role of the artist. His response is to throw
a chair, rather than respond with a reasoned argument".
I am inclined to presume that this is precisely the
way she likes her artists to behave.
Like Greenberg's account of his meeting with Pollock,
Plender's vision of the romantic artist is mythologized,
becoming a part of the artist's created personage and
history, regardless of its accuracy and truthfulness
(or lack thereof). Plender's artist, while modeled after
an amalgam of artists and others, is in fact materialized
by Russell, whose career was shattered after a series
of questionable films (in discussion, Plender referenced
the documentary Delius and Pop Goes the Easel as well
as the controversial The Devils). "I used text
from an interview with him that I found in a film magazine
from the 1970s, as the basis for Norman the art dealer's
monologue that starts off episode three" she states.
Following this statement with a quip characteristic
of Plender - both non-committal and candidly humorous
- "[the monologue is] ridiculously romantic and
bombastic". From my discourse with Plender, such
a response is not surprising; for an artist doing a
piece on a struggling artist she is refreshingly frank
and knowledgeable, never misinterpreting the role of
art and the position of the artist. While her work seeks
to challenge these conventions, it does so with a dissociated
self-reflexivity never compromised with her own apocalyptic
or romanticized sentimentality.
Conclusion
With The Masterpiece, Plender has found a method to
confront and deconstruct notions of storytelling and
art-production through content, style, and format. Influenced
by the works and concepts of Fahlström, Plender's
fine art sensibilities challenge the comic's reception
in the art realm and its conventions of narrative, style,
content, and form. Her source material, appropriated
from pulp novellas, adverts, film stills, magazines,
and texts, dialogues, theoretical accounts, and speeches
- is dissociated from its origin, and provide Plender
with virtually endlessly possibilities to rework and
create new meaning. The work borrows as much from art
archetypes as it does from film semiology, postmodern
literature, and polysemic fiction. Plender incorporates
all of this, through painstakingly detailed and comprehensive
imagery and storytelling, into a (for lack of a better
word) 'comic'. As a result, The Masterpiece is at once
straightforward and complex, candid and humorous, didactic
and ironic. Regardless of whether the interrelation
of images appears seamless or unstable, new meaning
results from the appropriated imagery within its new
context. Although Plender states she is "criticizing
these art world structures," her use of these elements
is informed, never aloof, and operates as a means to
challenge and critique the constituents of the contemporary
art society, successfully dismantling the system by
reusing its own forgotten forms.
Lastly, Plender discusses Greenberg's anecdote about
a 'growling Pollock', stating that "somewhere within
all that, Greenberg mythologized Pollock as the animalistic
[yet] all-American painter while simultaneously robbing
him of his voice". Plender's awareness of postmodern
techniques and intertextual resources allows The Masterpiece
to successfully critique the mythologies created that
transcend artists into geniuses and their work into
'masterpieces'. Just as Greenberg mythologized Pollock,
Plender creates a stereotype of the tortured, Byronic
artist-genius through her character, Nick, in order
to use him as a metonym for the art world and the society,
art practices, and tropes she wishes to critique. "I
am extremely critical of [the cultural mythology of
the artist]", she states, "The Masterpiece
[challenges] the classic association [that art exists]
between brilliance and insanity, exacerbated by the
loneliness of a god-like task and the daily torment
of being all too human". By reconstituting 'dead'
histories, tropes, and mythologies, Plender plays both
these roles, human and omniscient, simultaneously deconstructing
the world that she creates.
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