Sirens, displays the grace and beauty of the feminine in a series of portraits that juxtapose vibrant colours and dark shadows; bright hues shift and bleed into greys and darks and abstract backgrounds contrast with the realism of the subjects’ faces.  This collection is compelling in that it is both accessible yet complex. The allure of each subject is unmistakeable yet tinged with an awareness of objectification that obscures emotion.  Unlike the artist’s Inter Face collection, these subjects are not caught unaware.  Whether the object of a painter, a photographer, or merely an onlooker, these women are a pose frozen in time, graceful and poised yet distanced by the divide of onlooker and object.

The most striking aspect of the Sirens collection is the white faces of each subject that, contrasted with bold surrounding colours, lend a compelling mask-like quality while maintaining distinctly expressive features.  

These ‘living’ masks display the dichotomy of self vs other which is at the core of this body of work. The veneer of the faces is unmistakeable but the emotions of each subject cannot be concealed.  They are accessible yet unattainable, alluringly inviting yet tragically isolated. These subjects accept their role as object yet their mask-like faces are emblems of nonconformity and self-preservation. 

‘Sirens’ are beguiling and fascinating, captivating and seductive. Yet a siren is also a warning or admonition, an alert to the world that your perceived state of equilibrium is an illusion.  In a time of such ethical, political, and racial divisions, Piacente’s newest collection is timely in it’s depiction of the fragmentation of the self. Engaging and enticing, yet irreversibly distant and ‘other’, the artist’s Sirens hover in that delicate space between awareness and understanding.

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