She stitches together the threads of European society during the period of high-colonialism — stretching from the 17th C. to the 20th, many would say, when nationalism toppled one colonial stronghold after another AKA dozens of nation states emerging after WWII. And that's where we find her — at the apex of the Western hemisphere just before the 'market correction'. On high (for now) in red, white, and blue. And she’s… French. No, British. Wait. Dutch? Pick any of the top dogs from Europe’s colonising pack — lo siento, Espana — because each ‘adventured’ across the Silk Roads on their own quest for riches on riches. More is more, of course, and they wouldn’t accept less.
So, then… why her? Irony, mainly. With men plastering feminine qualities on places and instruments of war through the ages — like crude reasoning scrawled on gilded plaques. And the artwork does the same through the mix and match style of collage. Reflecting on history that can’t be rerun, but can be reconfigured.
White women, tangled up in the blood and guts of colonialism by proxy, found themselves in a wicked paradox. Boxed in and held down. Often reduced to sources of entertainment or fetishised escape. And yet, amidst all the abominable treatment, they benefited off of others just the same. Profiting in so many ways they didn’t want to give up. Set apart from the fire and blood of crushing progress, they still found myriad ways to behave badly. Participating in mummy unwrapping parties and other abominations for their cabinets of curiosities. Buying into orientalist stereotyping as much as their husbands and brothers and sons. Trapped in their very own gilded cage to match all the plaques they never asked for. Now seen here, trapped between the Silk Roads and the nouveau-riche splendour of Rodeo Drive, a symbol of American luxury and excess in the heart of the country’s cultural capital… which has its own history of exploitation to reckon with. Making it the perfect set-piece to tie-in with this impeccable red, white and blue number mining other places for profit.
