Profiles series is born of the reflection left to us by Giovanni Sartori’s ‘homo videns’, an intelligent being that arrives to me wrapped in gift paper directly from a great friend’s hands. In this work, Sartori shares his reflection about the great impact that television had in the training of people through the post-modernity age in the daybreaks of last century’s fourth quarter.
The bad joke tells itself; all of this has as precedent the digital revolution, where internet brought with it a transformations avalanche in conduct, social, and cultural terms. Nowadays, understanding the way things were 25 years ago is unthinkable for any millennial and perfectly endearing for the rest of us as long as we count from front to back.
Having said this, and based on the irrefutable fact that women are the most important central representation element in art and culture since their beginning to our days, and it is precisely based on this that the commitment of starting the development of #Nono’s Profiles is born, which pretends to illustrate the conduct impact as a core idea to justify rummaging among an unending series of profile pictures that, by agglutination, suffocated self-portraits until re-baptizing them under a new creed, with the name of ‘SELFIE’.
Under this same idea, we can conclude that beauty, as a mandatory topic, makes it impossible for us not to understand it through women as its cause and origin; it is because of this that I share the shameless theft composed by a plunder of twenty women who, armed with their cell phones, decided to confer their vision about themselves with the irresistible qualm that only the placebo of reinventing themselves as many times as necessary can give, through a ‘SELFIE’, pos-ted as a faithful witness of their enchanting existence.
These are my #TwoCoins about the Profiles series by Nono, which taught me that, with every brush-stroke, there is a teaching note that only feeds the need to keep being a painter.