Mathilda Eberhard – [←] ** (2010); [→] * (2010)
Whatever Eberhard lacks in polish, she more than makes up for with her audacity.
Apologies if this is a repetition of a previous persnickety and pedantically harped upon point–however, I am presently too inebriated to be able to figure out how to navigate out of this post and onto my blog to check whether I’m remember on of innumerable discarded drafts (there have been a lot more of those than usual lately, alas) or if it’s just something I thought about addressing and then just couldn’t figure out how to fit it all to words…
Anyway, during the nightmare hellscape that were MFA applications, I thought a lot about why I am drawn to the implications of narrativity much as the magnetized tip of the steel needle finds north on the face of a compass.
On the surface, I am intrigued by the power of stories. People can love you because of and through a well-told tale. Stories can connect people. Yet, the can also be used as Trojan Horses secreting ideological payloads.
My time as a film making student taught me that I might not be as great at judging the merit or lack thereof as far as those sorts of payloads.
I asked myself what would be involved in implying the entirety of a story with a single, static frame?
There are really two reliable ways to do this:
- Illustrate a story that is uber familiar to your audience
- Or, stage a tableau that allows for a familiar dramatic scenario (Pathos).
Both require being relate-able–a less direct way of saying looking to what has come before. This leads to the sort of work where being lesbian or trans is just another character trait… like born in Louisville, KY, Gay, really likes kabob, etc. as opposed to a wholistic aspect of and projection from the character’s self.
And what we’re finding out is that it’s a lie that our love is only recognizable in the way it mirrors straight love. But we have our own language, or own deeply incised pathos and when you see them you–if you are capable of love–see them too and they mean the same to you.
Eberhard was really far ahead of the curve in a lot of ways. She’s challenging the limits of what pathos allows for in the most fantastic ways.
I haven’t seen any new work of hers in almost half-a-decade. She has an instagram–but it’s private. I would do just about anything to know what she’s up to these days. (She is in the top three on my lists of artists I would do just about anything to facilitate.)
If anyone reading this maybe knows her and could help a super fangirl out it would be supes appreciated.
K Thnx Bye.