Marlo Pascual (B. 1972)
digital C-print mounted on Plexiglas, in two parts
left: 20 7/8 x 33 3/8in. (53 x 84.7cm.)
right: 30 7/8 x 33 3/8in. (78.5 x 84.7cm.)
Executed in 2010, this work is unique.
Casey Kaplan, New York.
Acquired from the above in 2011.
London, Saatchi Gallery, Out of Focus: Photography, 2012, no. MP.2 (illustrated in colour, unpaged).

Lot Essay

Marlo Pascual uses everyday photographs left behind by the passing of time, blows them up and repurposes them in somewhat surreal installations. Folding or cutting through her source images, or adorning them with props such as rocks, neon lighting and pot plants, the memories hinted at within the pictures are newly interpreted and mysterious narratives seem to emerge. In this work, a girl’s graduation photo has been expanded, ripped in two and each half mounted in Plexiglass, the torn paper of the prints replicated by the jagged edge of the glass mount. There is a violence in the gesture – a photograph destroyed as a proxy for an embittered memory – but this sense of aggression contrasts with the careful presentation of the image: the fleeting anger of the act of tearing is paradoxically frozen in time, monumentalised by its size and glass mount. In being preserved like this, the broken image takes on a new, melancholic tenor, as violence and sadness intertwine to moving, disorientating effect.

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