Considering our hyperreal excess, Andrew Robinson writes that: “Fascination exists when.. the true is invested with the power of the false, the beautiful with the ugly, or the real with the unreal. It consists of a kind of contemplation of what exists. It escapes from the ultimatum of meaning.” In this way, we can read the distortion and duplication of Roddick’s images as openly considering both the glossy pleasure and the manipulated facade of fashion. Intentionally ambiguous, we are brought back to the intrinsic qualities of the medium; glass is (self) reflective. How do we see ourselves reflected in these images?
By Elizabeth Atherton
