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Susan Fenton's photographs, hand tinted with
oils, are informal compositions with a mysterious atmosphere
presented in a smoky palette of dusty grays, greens, and pinks.
In White Satin Helmet, a single androgynous figure, with
gaze turned away from the camera, occupies a fixed and central,
shallow space. The burnished surface enhances the satin
material draped over the figure's face. Fenton, who began her
career as a painter, conceives these images very much like still
lifes - assemblages of shapes bathed in light in which the
figure is but another element in an essentially abstract drama.
Fenton's pictures, intentionally or not, convey a network of
complexity between photographer, spectator and spectacle. Her
very subject is the subject/object's act of not looking.
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