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Paint drops are splashing onto the “victim’s” body. We are dealing with pure act of creation. But at the same time it has a lot from a sexual act (in the past I was wondering isn’t that an over-interpretation, but I read interview with Shalom and she felt it that way).

When we are looking at the dress our attention is concentrated on black and yellow stains and we are trying to find any pattern. But those are only random stains. Simillar to Jackson Pollock’s work most important is not only the final “product” but also the whole creation act.

Although such analogy arises independently, McQueen as the inspiration pointed installation of Rebecka Horn (unfortunately I don’t know the year from which this installation is nor it’s title, if anyone knows please leave a comment – thank you). Additional context for McQueen’s performance with Shalom Harlow is the fact that whole spring-summer 1999 collection was inspired by English artistic movement „Arts and Crafts”.

Finale of this collection is bring switch of the roles – the robots are  replacing the artist. Human (the model) is only apparently in the hot spot. As I mentioned earlier she is defenceless against the “attacking” robots. Maybe this is over-interpretation but Shalom’s dress in which her waist is underlined by a belt putted back to the front can be seen as the reflection of the switch in human-robot relation.

Final conclusion for me is obvious. Vast possibilities of McQueen’s work interpretation shows to us that it is  a real ART and not only clothes design.

Illustrations from:
www.metmuseum.org
Hans Namuth photo of Pollock – http://en.wikipedia.org

http://www.siouxwire.com

Tags: alexander mcqueen, Arts and Crafts, Jackson Pollock, Number 13, Rebecka Horn, Shalom Harlow