A pair of boots by Chloé Painting

Like a brilliant metaphor of this capability to change, so pictorial and vital, in such unselfish formats, in almost a domestic way, are the sandals. These golden sandals appear to have no individual protagonism, but they leave their clearmark and show their elusive nature. These sandals are pure fashion, essentially little enduring, and thus desired objects for their price and status. They are still-life paintings of sandals on the wooden floor of a room, ravenously tied to their pairs in a snake like movement. This aesthetic scene was expressed through a text, which I was lucky to read, about these golden sandals designed in 2000 by the NewYorker Proenza Shouler. Victor López-Rúa says: “The momentum of the object”- the pair of boots by Chloé, or the sandals by Proenza Shouler- “contradicts the continued existence. This factor is like a solid fixed in the memory. And in this phrase we are already marked to read these guarded interiors in a new way. To see this primitive house which is reflected by its paintings. Paintings that surely have been shaped by the biography of the artist, by the distancing travels, and changes of sceneries. His trajectory goes froman old Galician house from the 16th Century owned by his ancestors, to a studio in Orense, and finally to the recent one in Madrid. Because the feminine sandals can be moved, they can be brought along in a suitcase. These sandals are in away barefooted, abandoned by somebody’s feet, not used and fallen. Beautiful and expensive objects without an immediate prospect of being used and yet they have no feet to wear them and give them their only raison d'être. These unfeigned empty objects, a step away from symbolizing erotic fetishes, were not to be nostalgic if it was not for their posture. If the sandals can be carried in a suitcase, the original house cannot. Just a step away from being fetishes? Now I am not so sure. Tell him that fetishism is disorientation from the love hunger that varies between the signs or objects of reference. The process through which a shoe converts into an erotic fetishism is hugely studied. First are the feet, then the one whomodels themand lastly the one who creates them. Feet as an erotic zone are widely recognized, but when one substitutes the entire body for them, it can be considered as a sign of fetishism. To transfer a desire and to mobilize eroticism by putting it into a shoe, which then becomes a fetish of excellence, could be seen like a sophisticated attempt, and on the other hand just a simple transfer. But fetishism is, according to the individual’s taste, the same process that makes some primitive cultures to worship some specific, found or created, objects. They then place spirits fromtheir imaginative worlds in themandmake theminto sacred objects. Objects then substitute the spirits that initially inspired them and become the focus of the given space. These objects leave their true function behind and turn into other things the same way that objects change when represented in paintings. Margitte simplifies this transformation sprucely in her celebrated title: This Is Not a Pipe. The word representation, with its additional reality thanks to the construction of the third realities, is one of the keys to understanding fetishism, or better-said fetishisms, and figurative painting as well as painting which is not exclusively self-portrayed. "The secret of Golden sandals". Marcos Ricardo Barnatán. Madrid 2008

Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:23.6 W x 39.4 H x 0.8 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.