Girl, Incandescent: Portrait of a Lady on Fire (2019)

The painter’s job is clear: she must paint a version of the young woman that her potential suitor in Milan will treat like the 18th century version of Tinder, except for ‘swipe right’, read ‘marry the young woman you have never met in person, and she doesn’t have a choice in the matter’. The painter’s job is less that of producing enduring art than it is to advertise a product to be sold: the young woman is a commodity and the painter is there to make her into the most alluring commodity possible. Except, in the process of observing the young woman, the painter begins to desire her. The young woman is no longer an object of art, she is the subject of the painter’s longing. But if the painter fails to complete the portrait that will lead to her losing the woman she has fallen for, someone else will be called in to paint the young woman instead. They will lose one another either way – but, in painting the young woman, she can show her for what she truly is. For the painter, loving her subject finally entails the act of relinquishing her.

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