VIEW IN MY ROOM
Photography, Giclée on Other
Size: 23.6 W x 15.7 H x 0.4 D in
A chilling image recreating the horror of genocide and murder on different levels. To look into the barrel of a gun is a chilling realisation, an imminent end to life innocent or deemed guilty in some way by the wielder of the gun. This image has been in my mind since numerous visits to the KGB museum of genocide in Vilnius, Lithuania; a disturbingly personal encounter with executions that happened in my lifetime. The contents and feel of the museum had a numbing effect, a chill to the core. As I exited one of the many horrific, yet exquisitely interesting displays, I came face to face with a lone hologram of a pistol being held at head height as if pointing at my own face, this moment has stuck with me ever since. A pointed gun is so often the end of a life, human or animal....if there is a difference. I wanted to recreate that moment of staring into the barrel of a gun, yet it’s safe it’s just a doll holding a 1:6 scale replica gun, no harm can be done. It’s safe to look and be distracted by the hanging lightbulb, the open cell doors or the wrist watch within the setting, which is in the corridor of cells in the KGB museum. The title ambiguous, as is the expression of the gun holder...is it concentration to do the job right, fleeting pity for the victim or concern at the immensity of taking another’s life? “What are you looking at”, did the gunman say that or are you wondering... what are you looking at?
Photography:Giclée on Other
Original:One-of-a-kind Artwork
Size:23.6 W x 15.7 H x 0.4 D in
Frame:Not Framed
Ready to Hang:No
Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.
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I was introduced to the work of Nicola O'Neill whilst curating the touring exhibition, "Barbarella" in 1997 as O'Neill uses dolls as her subject, creating alternative realities which comment and reflect on her own experiences. O'Neill uses the doll as a symbol of the perfect person to populate the recreation of scenes which are familiar to her and which also strike a chord in us. She photographs the dolls in locations around Swansea and Gower where she lives and works. There is a strong undercurrent of reminiscence in this imagery, bringing a personal element to this postcard-like super reality. As an artist O'Neill is aware of the attributed meanings and symbolism attached to the use of these archetypal icons of childhood but manipulates the subject matter and media in a way that the work contrasts benevolence and brooding, the apparent versus the ambiguous. Jane Brumfield (nee Jane Thomas)
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