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Richard Demarco Gallery. Edinburgh. Powerful work by three artists 1er
Portugal—Helen Al111eida.Pa11la Rego
and Ruth Rosengartcn—share this exhibition named after they (7715:1111. the legend which inspired a new play currently running at the Traverse 131cc Theatre).
The point of departur1.: 1111 each artist is a personal response 30 this complex
narrative which. historiczilly situated in
medieval Portugal. records the tate oi lnesde Castro. Spat‘iislioutsiderand loverofPedro whowasheirtothe Portuguese throne. Perceived as :1 politicalthreattothecontinuatiouoi the dynasty and male power. the King.
enacting the Law oi the Either. ensures loes‘ death which Pedro is unwilling to challenge due to conllicting loyalties oi
state duty and personal love.
Ruth Rosengarien's paintings create a dialectic between pri '21’13 aspects Li tragic love. Sensual pleasure and mutual recognition are 15111111131311 with the despair of mourning anal loss in iw
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series of works “Fragments of a Lover‘s Discourse and ‘Melancholia‘ Inviting reference to Freud and the reality of pain and pleasure. Rosengarten‘s work explores the unfolding of private ilisiress 1n dream-like sequences which capture the alchemical iransiorrnation of death and the mystical nature of lost hope.
The graphic. tormalist style of the photography of Helena Almeida is employed effectively to transform the space of the photograph into a series of hieroglyphic gestures and movements. Using a black swathe of material as protection or escape. the self portraits
create a sense of enclosed space which
resemble a journey of the body against the forces which wish to contain it. The blackness itself seems to become the mice 01" the silenced woman.
The Rehearsal by Paulo Rego c1:-111p1etes'1he commentary on the legend of lnes by questioning the inevitability of fate and the celebration of lite. in death. (Lorna J. Waite)
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