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The Secretary, 2013
Details
ANJA NIEMI (B. 1976)
The Secretary, 2013
c-print
signed, titled, dated and numbered '2/3' in ink on affixed photographer's credit label (frame backing board)
image: 39 3/8 x 27 ½ in. (100 x 70cm.)
sheet: 46 ½ x 34 ¼in. (118 x 87cm.)
This work is number two from the sold-out edition of three, plus one artist's proof.
The Secretary, 2013
c-print
signed, titled, dated and numbered '2/3' in ink on affixed photographer's credit label (frame backing board)
image: 39 3/8 x 27 ½ in. (100 x 70cm.)
sheet: 46 ½ x 34 ¼in. (118 x 87cm.)
This work is number two from the sold-out edition of three, plus one artist's proof.
Provenance
Private Collection, UK.
Exhibited
London, The Little Black Gallery, Anja Niemi: Starlets, 2013.
Special Notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.
VAT rate of 20% is payable on hammer price and buyer's premium
Further Details
Imbued with mystery and unease, the works of Norwegian photographer Anja Neimi explore issues relating to female identity, artifice and hyperreality. Working alone as director, photographer and subject, she constructs carefully staged scenes shrouded in atmospheric ambiguity. The elaborate theatricality is reminiscent of Cindy Sherman’s seminal Untitled Film Stills, which disturb the viewer with a frame that is both familiar and unsettling. Part of her 2013 series Starlets, The Secretary sees Neimi continue to combine self-portraiture with the idea of staged narrative. Like film stills or movie posters, the images in the series loosely tell a story while leaving room for interpretation. Interested in exploring the boundary between the real and the imaginary, Neimi admits that while her works are fictional, ‘there will always be a bit of me in them’. This conscious concession to her own reality is rooted in her belief that private experiences can help create universal statements. As such, she often multiplies herself, adopts awkward and contorted positions, and plays with viewpoints, to look at inner conflicts and highlight the divergence between what we choose to show and what we actually are.
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Jude Hull