Drama

The National Gallery is collaborating with the London Film School on 'Transcriptions: LFS Shorts', an innovative new project which involves second term students producing short 3-4 minute films inspired by the Gallery’s collection as part of their course.

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From the film-maker:

 

The woman sits on her own in an indistinct environment. It is an interior that is very sparsely decorated; the furniture has been covered with the woman's clothes. The pictorial signifiers are stripped down to a bare minimum (the mirror, the clothes, the cat) and the woman's facial expression is minimal at best. We do not know who she is and it seems the painter is unwilling to define his painting through symbols. All we have to engage with is what is in the frame. It requires an effort to understand who she is. But then, does it matter? Can we not appreciate the beauty of a woman simply sitting there, holding the mirror almost despite herself (maybe as a remnant of an art form that requires pictorial signifiers)? By just sitting there, is she not more immediate and real than any woman trapped in an image laden with symbolism?

 

Eric Lamhene

 

A piece inspired by Pieter Codde, A Woman holding a Mirror, 1625

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