His latest film for Pitti (2011) references lizards and angels, religious iconography and Florentine opulence. We are introduced again to the dark noir visuals of his first film. To accompany, we are given an audio compilation of violins and pianos, which resonate a disturbing and unsettling ambience. Designed for the space in which it was to debut, the film is presented a ceiling fresco, where we see these gargoyle like creatures leaping over our heads. These dancing figures have an albino-like unearthly appearance and once again their gender is unclear. Pugh described it as “people coming out of blackness, halos over heads, sins and angels” (Pugh, 2011: Interview Magazine). There is an alienated sensibility to the figures in this fashion film. They are almost nonhuman.
Again, he plays with the notion of optical illusion and reckons with reality vs. fantasy. And again, he incorporates electronic music, reverberating frames and kaleidoscopic visuals; highlighting the unnatural world. We see a woman having an epileptic fit in water and it forces us to question whether her existence is human. What is highlighted in the robotic movements of these unearthly creatures is the spectacularity in their clothing. Again, through clever suggestion of light, Pugh highlights what is important – the textiles, the textures, the sheen and the silhouette of the garments.
Next we experience the movement of the body. What appears to be a male figure confuses us in his feminine bodily movements. His dancing resembles fluidity, wind, water and beauty. It is not at all masculine. Genitalia are exposed but unclear. When we do identify figures as female, they look quite masculine; in fact they look as if they are in drag. There is a moment where we see a male figure suspended in water; he looks more boyish than manly in his 1930s swimsuit. Perhaps Pugh has included this because it is contextually relevant in a time where masculinity has shifted and we are returning to a boyish, slender more earthly silhouette of the male body. Nevertheless, we identify that Pugh continues to question gender. He also questions identity. Throughout the film we encounter figures but are unable to see their heads. We question the meaning of their existence. Who are they? What are they? Perhaps Pugh is saying that his fashions have the ability to appeal to both man and woman in a world of digital narcissism where gender is blurred and anonymity and ambiguity is acceptable. The film closes with a collection of naked statues - perhaps indicative of Pugh’s Florentine influence. We assume that these statues are the original source from where the gargoyle-like creatures in the opening scenes of the film have crawled out.
1 March, 2011 by BoF Team
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