5th – 16th November 2019
Annie Zamero paints satirical portraits of contemporary public figures because she is interested in how those with personal power use it, and how they like to be seen by the public. She uses satire to uncover aspects of her chosen subjects that they would rather not reveal as part of their public persona, and the results are often contentious by nature. Some of the works have been featured in the Evening Standard’s Diary page, which describes Zamero as a ‘controversial artist’. She embraces this description, noting that controversy sparks interest and starts a conversation.
Humour is an important element in the work and Zamero feels painting can be both challenging and comedic; she asks us to consider how absurd a painting can be and yet be ‘serious’. She has a sense of the ridiculous and strives for a convergence of gravitas and the cartoon. Satire can also be serious and the artist is interested in using it to uncover aspects of chosen subjects that would rather not reveal as part of their public persona.
Each painting is set in an art historical context which brings art history into modernity, giving it a contemporary relevance. It also steeps the modern within the richness of painting tradition, echoing the characters of times long past and linking with their lives and dramas. Also it involves the idea of the political cartoon as a piece of fine art. Her main inspiration comes either from looking at old masters or from seeing media images of a public figure. She is particularly interested in the Baroque period for its sense of drama, and more recently the Rococo period for its flamboyance.
Using art historical references with contemporary subjects brings art history into modernity, giving it a contemporary relevance. It also steeps the modern within the richness of painting tradition, echoing the characters of times long past and linking with their lives and dramas. Also it involves the idea of the political cartoon as a piece of fine art. Zamero’s main inspiration comes either from looking at old masters or from seeing media images of a public figure. The artist is particularly interested in the Baroque period for its sense of drama, and more recently the Rococo period for its flamboyance. The public figures are selected because of their personal power; they are often iconic figures.
Annie Zamero’s methodology involves photographing myself or others dressed in the costume of the chosen character; this increases a sense of personal involvement and helps to identify with the subject, enhancing the facility for character and expression. It also involves adopting the physicaI pose of the subject which is a technique proposed by Cecil Collins and which the artist learnt from his protoge Ruth Eisenhardt who continued his teachings after his death. In Eisenhardt’s classes, students would hold the pose of the model whilst listening to music and this ‘locked’ the muscle positions and tensions into the subconscious which greatly informed the rapid spontaneous drawings that followed.
Zamero’s preparation includes multiple spontaneous “chance” drawings in order to incorporate accident into the final imagery and allow a sense of naivety in the cartoon-like forms. This also translates into making larger scale drawing.
Influences are German Expressionists, George Condo, John Currin for “creating” people (using contemporary magazine photos in an art historical context), Rembrandt for character and costume and Mauritzio Cattelan for the political cartoon as fine art. Also of contextual relevance is Alison Jackson for satirising public figures.
This show takes a retrospective look at a number of key works including those of Meghan and Harry, the Queen and Prince Charles as well as Trump, Churchill and Thatcher.
The exhibition will interest anyone with a keen sense of humour, a wry interest in the Royal Family and the sometimes absurd character of politicians in general. It will also appeal to those with a love of painting and the amazing effects paint can produce, as well as an interest in art history and it’s continuing relevance today.
After spending a number of years in Merchant Banking in the City of London as Banking Manager/Credit Analyst, Zamero decided her life would have more meaning and authenticity if she became a
In 2016 Zamero’s painting of Prince Charles was featured in the lead story in the Evening Standard, Londoner’s Diary, ‘There Will Be No Revolution in East
She has exhibited in London, New York, Liverpool, Paris, Athens and Arizona and has been selected for the Liverpool Biennial (2016 and 2010) and the European Capital of Culture Festival (2008). In 2015 She was selected for a show at the University of Kent at Canterbury by