Exactly two years ago, a new space for contemporary art was inaugurated in Milan, in the Porta Venezia area – L.U.P.O. Lorenzelli Upcoming Projects. After two years of a dense programming, the space has now established itself for its focus on the latest trends and stands out for its keen eye on emerging talents. Gallery owner Massimiliano Lorenzelli (1995) keeps an eye on the Royal Academy in London, as well as being very familiar with the Milanese art scene, from which he discovered, among others, his beloved artist Giuditta Branconi. He also keeps a close watch on the international art scene, following – and in some cases, anticipating – trends. With Rachel Hobkirk‘s exhibition, which opened on September 13th, L.U.P.O. reaffirms itself as a reference point for emerging contemporary art. It’s a space to keep an eye on to connect with new Italian and international artists, almost always vibrant and with unexpected artistic explorations.
Equally unexpected is the current exhibition titled Baby Talk, showcasing the works of the young Scottish artist Rachel Hobkirk (1995). Hobkirk’s paintings focus on the subject of dolls, a symbol through which the artist explores the interplay between surrealism, the male gaze, consumer culture, and the commodification of femininity. By choosing such a debated subject as dolls, the artist offers a vibrant commentary on our modern society’s obsession with “cuteness” and the manipulation of female representation, all while challenging conventional norms.
At first glance, Hobkirk’s paintings captivate with their extraordinary aesthetics and impeccable technique. Large and small canvases, meticulously rendered in oil with great attention to detail. The surfaces are smooth, almost “wet,” and the brilliantly saturated colors are capable of evoking a sense of familiarity, reminiscent of the world of digital advertising. This connection to the realm of media is not accidental; it is a deliberate choice made by the artist. Hobkirk skillfully incorporates layers of oil underpainting to intensify the luminous effect of her colors, creating a visual experience that echoes the allure of contemporary advertisements. In doing so, in addition to the familiarity, she evokes a sense of unease primarily dictated by the very close-up perspective she lends to her subjects, revealing often unnoticed details. From unsettling hairlines to provocative lips and enigmatic eyelids, these details come to the forefront.
The figures within “Baby Talk” beckon us to question what lies behind the mask. Who are these dolls, and what stories do they hold within them? Hobkirk’s work invites us to grapple with the ambiguity of identity and representation, prompting us to reflect on the depths of meaning that exist beneath the surface.
Courtesy Rachel Hobkirk & L.U.P.O
