As (S)he Reremembered It
If, for Koether, “painting” functions as the nodal point of performance, installation, and a figurative style of gestural re: enactment on canvas, for Prina “painting” marks the intersection of the artist’s oeuvre (as inventory or body of work), the object’s format (its size and contour), and a non-objective style of reenactment on paper – to visualize the transitive passage of action from a painting out to a social network (or body), and from this network back onto painting...
As Prina declares, “I entitled the Manet project because it seemed necessary to see a complete body of work, in relation to his body and to my body . . . ”
Re: Lucienne declares, “I entitled the Prina project because it seemed necessary to see a complete body of work, in re: lation to his body and to my body . . . ”