Rita Lino's self-cancellation in her new book, 'Replica', was an act of liberation.
"is what you might call my '0.2' version of Mortensen's book," explains Rita."I was interested in building a kind of Frankenstein. Mortensen's lucid prose opened my eyes to the possibilities of shedding my ego; a concept I was previously so familiar with. In this way, my subject matter transformed… It became not so much body.
"Does anyone really care about my life story?" ponders Rita, for whom self-cancellation within the frame was an act of liberation."I began pointing my camera in angles I had never thought about before, and, indeed, ways I would never shoot a model myself." As if to seek equivalent expression elsewhere, Rita sometimes conceals her face with black cloth or plaster with which she makes masks.
The transition from human to object Rita undergoes gets to the heart of the essential representative conundrum of photography. That is, how to convey something three-dimensional via a two-dimensional surface? Where Mortensen disguised his heavy manipulations by rubbing his prints with pumice stones, thereby achieving an etched effect, Rita outwardly flaunts the medium's artifice.
Rita's inventive replications of the body confirm her maturity as an artist actively looking to break the mould, and hers too. Finding currency in objecthood – Mortensen's fantasy of the death-model – she flies in the face of a contemporary society that champions personal and political will. might leave you longing for something more, but perhaps that something can't be rendered by the lens anyway. As always in Rita's work, revelation is within reach, but remains one frame away.
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