Review: Superstar - Lena Semenkova Feature
January 22, 2008

A 1950s television set bleeds black ichor from four large holes etched in its dead face. The ichor forms a dark puddle on the floor.
As always, for me, when I look at Lena’s imagery I’m struck by the choices of simple symbols which knit together in such a way as to create a complex high-impact message which impacts and impinges immediately upon the consciousness in an unmistakable way. You get it.
You get it immediately. And that to me is a demonstration of immense ability, even if the rendition is not as sophisticated as the Psychobitchua would like to achieve. The overall impact captures all the hopes, dreams and ambitions that we have each entertained at some point in our lives, when we stared at the box and wished we were part of its magic.
Were I to choose its title, I might have been tempted to call this one Above the Violence, except that the image seems to say something more powerful, it harks back to the live show, to the immediacy of vaudeville and theater, and plays when performers and audience interacted.
Feature Index
- Lena Semenkova - Camouflage of Contradictions
- Digital Art and Photomanipulation
- Review: The Imitator
- Review: The Waiting
- Review: Superstar
- Interview Part 1
- Review: The Kingdom
- Review: Like a Bird
- Interview Part 2
- Review: Ghost Rider
- Review: All the snowflakes must die
- Interview Part 3
- Review: Red Skull
- Review: Prisoner of Conscience
- Review: War
- Conclusion
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