In: Table for One
Annie Collinge | Table For One | 2020August 25, 2023
Annie Collinge | Table For One | 2020
There are a number of places to stand (or crouch, on your knees with your head tucked under, like the resting chicken ‘downward dog’ work by Collinge) in considering Table For One.
Some are more light-hearted (when I first encountered Collinge’s performative scenes, I was having the type of day where staying at home in a banana bag or sitting stoically as a snug, solitary tomato was a comforting concept. Table For One might mean being grateful to be left alone, that day). Other responses may be darker : perhaps these are incongruously bright, vibrant metaphors for loneliness and separation. Eating alone at a table for one is interpolated as isolation – and assumed to be by reluctance not preference – which feeds (sorry) into the history of how eating with others and communal meals are lauded as linchpins of social structure. This is – of course – debatable, as it has a rank stench of nostalgia, like those who lament the myth of ‘family dinner.’
I offer this as someone who often goes to movies alone, or eats in restaurants alone, but have been told I’m ‘extroverted’ in other social interactions.
When considering art, I often cite what Jeanne Randolph describes as the ‘amenable object’ : it’s a ‘vessel’ that we pour our own experiences into, and thus construct its meaning in collaboration with the artist. Fashion falls within this, and is also a manifestation of art and social history : its a history we wear and perform. As with art history, it is sometimes subversive, sometimes explicit. Table For One exists within that space.
“Puppetry, dolls and larger-than-life costumes populate the images of London-based photographer Annie Collinge. Visual trickery abounds, as if Alice had just stumbled upon a magic potion in Wonderland, with scale (the very large and the very small) frequently distorted. The human body becomes a foil to its surroundings, offsetting imaginative surroundings that conjure the escapist storybooks of childhood. A head appears amidst a mushroom patch, or else a gloved hand clutches at a disembodied head. Like the best fairytales, these images carry as much menace as they do whimsy.” That quote is from an interview with Collinge : more of that conversation can be read here.
~ Bart GazzolaRead More