Lana H. Foil wishes to keep her identity hidden. Those who know her, do not know that she paints. It is with a degree of unease that she allows her work to be exhibited here. She finds that the transition from her private world of painting, where she can paint whatever she desires or pleases, to the public one of exhibition is a difficult border crossing. While others seem able to traverse this boundary with ease, she looks for a bridge to reconcile the two worlds. But to Ms Foil, the disjuncture between public and private seems more like a kind of divorce. She takes on a nom de pinceau in the hope that her two selves might meet again once their identities have been clearly distinguished.
Call of Nature oil on canvas 34.9 x 39.5 cmSo a real artist finds that her public identity puts a limit on the range of work she can create. But is this broadening of possibility enough to justify someone operating made under false pretences? And if justification is found, should the work that results remain forever in the shadows or should it be reincorporated back into the `real artists' work? (D.P.)
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