ART
The idea for the Saatchi exhibition Paper, which open on June 18, emerged from a series of acquisitions – predominantly by young emerging artists – of works using paper in different ways. British artist Jodie Carey, for instance, creates beautiful flower arrangements displayed in classical vases. But it’s only when you get close to them, Rebecca says, that you notice they’re often made out of tabloid newspapers, stained with coffee, tea and even the artist’s own blood. “There’s one that is made entirely out of the Daily Mail,” Rebecca says. “So, this newspaper that you’re used to chucking away at the end of the day and trampling over when you go down into the Underground has actually been transformed into this very, very, beautiful piece of art… She’s really looking at the transience of life, I guess, and it’s quite fitting that she should choose to do it through something like the Daily Mail. They’re really stunning.”
Another artist, Annie Kevans, uses oil on paper to capture the innocence of children who later turned out to be monsters: Hitler, Mussolini, François “Papa Doc” Duvalier, Idi Amin, Kim Il-Sung, Ion Antonescu, Pol Pot… and so on.
“They’re amazing, they’re quite incredible,” says Rebecca. “She’s captured this kind of child-like innocence and then, when you read about them, there’s this huge gulf between what they were as children and what we now know those people to have been. It’s really fantastic.” Wittier, and definitely stranger, are the works of American Nina Katchadourian. These are all “lavatory self portraits” of the artist in what appears to be period Flemish style, the kind of image you would get in a 15th-century portrait. But why lavatory? “What she does is whenever
she’s on an aeroplane, she goes in to the toilet and she takes the paper toilet seat cover and she dresses herself up in this kind of Flemish style,” says Rebecca. “Then she takes a photograph of herself. I think she uses a mobile phone… her work is really witty and just really good fun.”
Annie Kevans, Ion Antonescu, Romania, 2004 © Annie Kevans Image courtesy of the Saatchi Gallery, London
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