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The source image for this atlas is Diego Velázquez’s 1656 painting, Las Meninas. A series of plates were constructed along predeter-mined dialogic vectors. The result is multiple spectra of affiliated images which attempt to align the painting with two other fields of the gaze: architecture and Barbie. These plates attempt to produce a spectral matrix of “technical images” which, as defined by Vilem Flusser, “absorb the whole of history and form a collective memory going endlessly around in circles.” (1983) Thus operating on several intersecting axes, the plates confuse and conflate body images and images of bodies- whether dolls, paintings, buildings, or photos- as a mapping of gendered architectures.
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