Often excluding the heads
of her subjects, Anne Marie Kornachuk
paints dramatic, Baroque-inspired images of
formal dresses, transforming them into reflective, abstracted objects in
motion. Assessing the constrictive, uncomfortable qualities of the formal
dress, and often the wedding dress, her images quite literally shake up the
societal expectations that such dresses recall.
Similarly focused on the
dress itself, Charles Waller
also employs wedding dresses, adhering actual
antique garments to his canvases to create Magritte
-inspired surreal images that are meant to
convey humor. Adrienne Stein
also appeals to the materiality of the dress,
applying actual lace to her canvas in Apparition
, creating an ethereal
gown that matches the fantastical scene’s dark beauty.
In her surrealistic scenes
of young women and children, Margo Selski
creates dresses that serve as canvases within
the canvas. Between a long pleated dress covered in eyes, a spherical skirted
dress that doubles as a globe, and a voluminous dress depicting an underwater
aquarium, Selski’s dresses alone are accomplishments in their own right.