Lynette Yiadom-Boakye’s beguiling works have titles like Tie the Temptress to the Trojan and Alabaster for Infidels. So what if they don’t connect with what she paints – she’s hardly art’s first blabbermouth …
Yiadom-Boakye plays with the idea that what can be said in paint is in a different language from what is said in words and perhaps the former can’t be translated to the latter. She says: “I write about things I can’t paint and I and paint the things I can’t write about.” But her oeuvre, in a sense, is a double unmooring. Her titles don’t seem to connect obviously to the paintings; and, programmatically, her paintings don’t connect to reality.
Photograph: Private collection. Courtesy the artist, Corvi-Mora, London, and Jack Shainman Gallery, New York. Only with the rise of auction houses and public galleries in the 18th century did titles become useful handles, necessary to organise submissions. But later something deranging happened. Painting broke the compact with reality. One day someone complained to Picasso that he ought to make pictures of things the way they are. The person produced a photograph of his wife from his wallet and said: “There, you see. That is a picture of how she really is.
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