Russian Supermodel at the Catwalk 

Editor: Here we have Hubertine Heijermans’s “Russian Supermodel at the Catwalk,” an oil painting portrait that almost feels unfinished, or like a very vibrant sketch. What jumps out at you when you look at this piece? Curator: I’m struck by the overt display of labor and materials here. Look at the thickness of the paint application; you can practically feel the artist’s hand moving across the canvas. Notice also the overt materiality, blurring boundaries between 'high art' portraiture and something more tactile, almost craft-like. This speaks volumes about the role of art production itself. Editor: So, you’re not as focused on the supermodel as the subject, but more about how the work was made? Curator: Precisely. What was Heijermans conveying about the industry, by painting the image this way? I'm intrigued by what appears to be an almost reckless application of the paint, versus a highly polished style typically associated with images of wealth and glamour. I want to know: What does this juxtaposition tell us? Editor: I never thought about it like that before. It almost undermines the traditional portrait with her treatment of the material itself. Curator: Exactly! It calls into question the very act of image-making. Was Heijermans critiquing the superficiality of the fashion world through her material choices, or simply exploring a different kind of visual language? How is the artist’s labor—her choice of material and its handling—shaping our interpretation? Editor: I can see how focusing on the materiality adds layers of meaning that you might otherwise miss. It gives me a whole new appreciation for considering the production process! Curator: Indeed. The process and the social context that created the image can reveal so much more about its meaning, don’t you agree?