TX: signed with fountain pen at lower right of picture in English <KK 08>, inscribed with felt pen at rear upper left in English <'Behold (Kate Moss)' / Gloss paint on MDF / 2008 / [signature] / [Greek] Konstantina Kapanidou>
CM: Konstantina Kapanidous Behold: Kate Moss deals with the representation of women in advertising and fashion industry as a comment on stereotypes. Beyond representation, Kapanidou uses symbolism in an indirect way. The present work's oval shape derives in catholic icons representing the Virgin Mary. Painting's relationship with religion intensifies the subject while some of its elements acquire unexpected meaning. Herewith Kapanidou is concerned with the parallelism between the religious dimension of model Kate Moss (b. 1974) and the contemporary dimension of the divine Virgin Mary. Kapanidou claims "it is interesting to observe the variety of reactions of people in different countries where I show my work depending on the icons which they are used to seeing in their religious customs and the degree to which these icons infiltrate their daily lives, which clearly affects directly and indirectly their perception of my work and any of its religious references". The viewers suspect the ramifications of her work, perhaps not at first glance, but by carefully scanning the work. The way in which the model emerges from the background is reminiscent of the cases of religious statuettes that appear as if through something mysterious, perhaps referring to the origin of the world. In this work, because the attitude is so stereotypical and familiar the painter sought the color to be highly intensive. The palette is influenced by the colors found in icons especially of the Hindu religion, but here the range tends to be deliberately exaggerated. The work moves from a humorous to a tragic situation. The composition reaches the edge of the physical work making use of all the available surface, leaving no breathing space for the eye. Kapanidou is interested in the technique of her color that is thick yet fluid. The material introduces the challenge to control time as much as possible before loosing it. Exploring all parts of the work, the viewer begins to understand that things do not match up and eventually the picture is weird. Although keeping to the form, the color is distorted and distorts the form's interior. Pink refers to something more carnal and animalesque than what a religious image normally indicates. Kapanidou introduces those inconveniences that will engage thinking. Her art is a criticism on what we have learned by convention to accept.