马洛帕斯夸尔
МАРЛО ПАСКУАЛЬ

source: artsynet

Using amateur photography found in vintage stores and on Ebay, Marlo Pascual creates images and installations that give photographs a new life as objects removed from the context in which they were taken. Pascual cuts, folds, impales, and situates the enlarged prints in minimalist assemblages that employ props such as large rocks and plants, coat racks, and fluorescent lights. At a 2009 exhibition, Pascual placed the glamour shot of a woman’s legs in Untitled (2009), framed between plates of Plexiglas, at a right angle to the wall, providing the momentary impression of a figure reclining on the ground. Nearby, a small kitchen table supported a print, also untitled, of a topless woman posing suggestively. Facing it was an empty chair, making passing viewers recipients of the woman’s earnest overtures.
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source: rencontres-arles

Née à Nashville (Tennessee) en 1972. Vit et travaille à New York.

Marlo Pascual utilise comme point de départ des images et des films photographiques récupérés. Elle agrandit, repositionne et juxtapose ces images trouvées avec d’autres photographies, des objets minimalistes et des accessoires de scène, créant ainsi de nouveaux liens entre ces éléments.
La première exposition personnelle de Marlo Pascual s’est tenue en janvier dernier au Swiss Institute of Contemporary Art de New York. Elle a récemment participé aux expositions de groupe curated by_vienna ’09, un projet à l’échelle de la ville de Vienne où ses uvres ont été montrées chez Georg Kargl (2009) ; l’exposition three person show, dirigée par Amie Scally à White Columns, New York (2008) ; Crop Rotation dirigée par Clarissa Dalrymple à la Marianne Boesky Gallery, New York (2008) et Tales of the Grotesque, dirigée par Gianni Jetzer chez Karma International, Zurich (2008). Pascual a complété son diplôme de MFA à la Tyler School of Art (Philadelphie) en 2007.
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source: artbroth

Clever use of dramatically lit black and white vintage photography; beautifully conceived visual puns; old-style glamour with a melancholy edge.

Marlo Pascual’s nostalgic, stylish practice has the kind of success story associated with easily assimilable, undemanding art written all over it, and ever since her first New York showing in 2008, collectors have been clamouring for examples of her work.

One of very few recent emerging artists to make a swift transatlantic transition to multiple appearances in Europe, she has yet to charm Asia, but probably will.