It is quite difficult to come by artists that are truly seductive. Doing my usual “seduction + artist” search in Google, I came across a page that related Louise Bourgeois to a Brazilian artist named Nazareth Pacheco. I was stunned by her pieces. It is as if someone has taken the lead from Man Ray’s Cadeau in the place where Chema Madoz, where his photographed objects, left it hanging. Like many other seductive artists (Sharon Kivland, Naia del Castillo, Mary Kelly, Victoria Civera…), she works with issues around the body, femininity, subjectivity and pain, which can be contextualised beautifully within psychoanalytic theory. I am beginning to wonder whether the gender issues pertaining to the study of seduction are not a lot greater than I perviously thought.
The themes relating art and design persist. Like with Meret Oppenheim’s Breakfast in Furs, Pacheco’s work are usable, wearable, in a sense, albeit dangerous, uncomfortable, painful. This is where reversible strategies, the challenges of seduction, manifests themselves at their best. She teases us with intense feeling, she entices us to stretch our arm take the necklace and sport it with our best evening dress… The crystals coexist with medical needles in the piece, needles used for stitching up wounds or incisions (real or metaphorical) with a suture.
Image credits: Nazareth Pacheco, Untited, 1999, Crystal, suture needles, 40 x 20 x 6 cm