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Colin McMaster ‘paints stereotypes rather than individuals’ and combines references from photographic storyboards of romantic comics with sinister undertones of American Film noir and pulp crime novels. The subjects are ‘superficially attractive but there is a underlying sense of their narcissism and perhaps even their engagement in acts which the viewer is compelled to interrupt as illicit’. McMaster’s work lends itself to the Pop Art Movement and the mannequin like quality of the figures heightens feelings of artifice, blurring the viewer’s sense of looking at a painted image. This print is signed and numbered by the artist.
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