Maria Paula Carreño in Kill Your Father | Photo by Dahlia Katz
With a massive pink and purple sculpture asserting itself, Renato Baldin’s set is unabashedly channelling Georgia O’Keeffe; the colours and textures of his minimalist scenic design and costuming are declaratively vaginal. Their purpose isn’t erotic, nor even especially pleasant; no, they suggest bruised and bleeding orifices. Popping defiantly out against a sterile white backdrop, they will not be ignored.
One of the most distressing images here is of Medea pulling her child, a piece of raw meat, from a bright pink storage stool—a stylized womb. A deep maroon throw cascades at her feet—afterbirth. The juxtaposition of consumable muscle with the fur of an object designed for domestic comfort has a potent visceral impact.
But I’m getting ahead of myself. Continue Reading