The death mask is a vestige of the space between life and death. It is a mould of a deceased person’s face, used historically for portraits, effigies and later on, as an artform in and of itself. There is something strange about how the mask records its subject. Devoid of life, and even the most life-like renditions are distanced – inevitably distorted by the process of death.
Hall’s ‘Fuschia Face’ is redolent of a death mask. In a pool of pink, features emerge: a ruby slick of mouth, withdrawn red eyes and the outline of a wavering face. Rather than likeness, she presents her subject like something examined from a distance – human, but not as we know it. This is a hot pink memento mori.
Hall was part of the Heide circle, which included Charles Blackman, Sidney Nolan and Hall’s husband John Perceval. Like them, Hall pursued a Figurative Expressionist style and like Joy Hester and Mirka Mora, she forged a compelling female voice in an otherwise male dominated space. That her career was at times overshadowed by her marriage is a testament to Modernism’s issues with gender parity. Now, collected by The National Gallery of Australia, the Ian Potter Museum and Geelong Gallery, her absence is being redressed.
For collectors of Modernist Australian art and those hankering after a unique insight into the Antipodean movement, Hall is a vital find.
Anne HALL (1945 - )
'Untitled (Fuchsia Face)' 1960s
mixed media on paper
Image Size: 32 x 23 cm
Comes with Letter of Provenance
Availability: in stock
Condition:Very Good: Describes a work of art’s image As New, but may show some small signs of surrounding wear. There are no tears to paper margin or disruption to paint surface. Image is in Fine condition.
© The Artist or Assignee
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