Direct from the boudoir

Instant camera, instant images, instant memories... supposedly.

But what if the scope of such images was not to record a memory but simply to capture a very personal ideal and sense of aesthetics?

New York photographer Pat Kurs seemingly portrays all the frivolities in life that tickle her fancy in the works on show at The Palace Hotel in Sliema, with the subtitle (or rather tagline) of her exhibition reading “... to bring out the doll in you”.

And dolls there are. Aplenty. But is that all? Frivolity? Dolls?

Actually the naked eye quickly discerns the erotic undertones and overtones of her images, as well as hints or a penchant for S&M. On a few occasions the supposed “girlyness” of it all is juxtaposed and sharply contrasted by the inclusion of ammunition and projectiles in her compositions, reinforcing the idea of aggression and violence.

This Vintage Polaroid and Digital Art exhibition features a series of limited edition prints of different dimensions, most having a distinct boudoir feel.

Now, I may not be a photographer or a photography expert, but those images are clearly not Polaroids in the traditional sense: meaning they no longer bear any semblance to a Polaroid image. They may have been taken using such a camera, but their authenticity, that unique look and quality pertaining to an image taken with a Polaroid camera is nowhere to be seen.

Moreover, if the images were to be blown up, and I can understand the need of doing so – otherwise magnifying glasses would have had to be available in order to scrutinise the works properly – then the Polaroid format should have been maintained and respected.

The mounts needed to be devised in such a way as to mirror the asymmetrical “frame” of the printed Polaroid.

And even the hanging and spacing of the works could have gone further to recall and accentuate the vintage element.

The vintage quality is, however, obvious in the images themselves, where dirty pinks, pale hues and musky colours are then accentuated with the sfumato effect created by the Polaroid image.

Although the scope of the Polaroid is to produce an instant image, Ms Kurs’s photos rather appear to be carefully construed (and contrived) still-lifes.

Admittedly I prefer the more obscure, abstracted compositions, having a sole protagonist which does not compete for the attention of anything or anyone else.

Even the spatial distribution in these works allows the eye to wonder more freely as opposed to an almost sense of horror vaquii in some of the more densely-packed compositions.

Perhaps she is trying to preserve herself through her work. Her dolls have young faces, they are children, and yet more often than not they are captured alongside a perfectly shaped bosom, complete with erect nipple; or even stand beside the sinewy silhouette of a slender torso.

Hers is an almost obsessive visual diary of images featuring dolls and naked body parts. Seen in rapid succession, Ms Kurs’s works then conversely give off an eerie, sinister feel which can, at times, become disturbing as the dolls start to take on a life of their own (similar to the effect clowns have on some people).

With a background in dance and the fashion industry in the US, and with an impressive array of photographers’ names, designer labels and magazines on her résumé, Pat Kurs only started exhibiting her work some four years ago, even though she had started shooting in 1969 and consequently had her work published in 1974.

Thus, her presence in Malta received much attention from the media: undoubtedly, the sterling marketing and PR work of Lily Agius, who was responsible for hosting and setting up her exhibition here.

However, the focus in the media has been almost solely relegated to Pat Kurs’ background and history – more on the grounds of her past rather her present endeavours and productions.

It is truly a breath of fresh air to have foreign artists finally visiting Malta and showing an interest in our tiny islands.

Hopefully with time the interest will increase and due importance will be given to those working to break through our tight-fitting barriers of insularity.

The exhibition runs at the Palace Hotel until October 31.