The intriguing work of Australian artist Anna Di Mezza achieves a synthesis of disparate styles and techniques that requires a double take from the viewer. Collages of found images from vintage magazines are taken out of their original context and then rendered in a meretricious photo-realist manner using a largely mono-chromatic colour palette, with, as Anna notes ‘occasional pops of colour.’
Di Mezza stages strange tableau of suspended narratives. Gigantic women recline or roam across mountain ranges; people emerge from bar-codes; sets of well coiffured ladies gather around mysterious crystals or point excitedly to a lone astronaut while on the moon. Di Mezza’s paintings suggest stories that fascinate while ultimately eluding explanation.
Di Mezza cites influences as diverse as the Surrealists, especially Magritte and De Chirico, Pop Art, filmmakers David Lynch, Hitchcock and Stanley Kubrick and the classic fifties TV series The Twilight Zone. While her art clearly references her influences Di Mezza skilfully creates her own unique otherworldly vision.
On the 9th of March 1960, Yves Klein, one of the founders of the Nouveaux Realistes art movement and creator of the paint shade IKB (International Klein Blue) which he had used in a number of large-scale monochrome paintings, staged a unique event. At the International Gallery of Contemporary Art in Paris, before an audience consisting of the cream of the Parisian art world all decked in evening wear and an orchestra of nine musicians playing his own piece, The Monotone Symphony (which consisted of a single chord played for twenty minutes followed by twenty minutes of silence) Klein painted three nudes models in IKB, and using them as living paintbrushes precededto give instructions as to where to place their bodies on the canvases that lined the floor and walls. The models positioned themselves, rolled around and dragged each other producing the paintings above and below, which Klein entitled Anthropometries. As this was first and foremost a work of Performance Art, photographs were taken of the show, also shown below.
Personally I love IKB which is deeply suggestive of eternity: unsettling and yet serenely blissful. To do it justice however it has to be seen it up close at a gallery, no computer screen can fully capture its vivid intensity.