{"id":135387,"date":"2019-04-11T09:00:39","date_gmt":"2019-04-11T13:00:39","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=135387"},"modified":"2019-04-10T16:30:27","modified_gmt":"2019-04-10T20:30:27","slug":"chantal-joffes-many-faces","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2019\/04\/11\/chantal-joffes-many-faces\/","title":{"rendered":"Chantal Joffe\u2019s Many Faces"},"content":{"rendered":"
\"\"<\/a>

Chantal Joffe, Self-Portrait, 1st January<\/em>, 2018, oil on board, 24 1\/8″ x 18″. \u00a9 Chantal Joffe. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

Here\u2019s the setup: palette, chair, mirror. The mirror is bandaged together with red-and-white tape that says FRAGILE<\/small>, but let\u2019s not make too much of that. The original plan was written on a scrap of paper: \u201csmall heads\u2014meditations\u2014buy lots of small boards.\u201d The first was painted on January 1, 2018, \u201cthe worst day of the year,\u201d not that the rest of the year was that much brighter. Joffe\u2019s marriage was breaking up. She painted herself nearly every day, sometimes at night, always in fairly pitiless light.<\/p>\n

Speaking broadly for a minute, she looks in this extraordinary series of self-portraits like someone almost warping under a heavy weight. Bowed down, weighted by feeling, she peers back at herself, artist prowling after sitter, avid to catch pouches, moles, sags, bags, and quirks of flesh. Maybe at first it looks like someone giving herself a hard time, the visual equivalent of how (women) rail against their face, their thighs. Something funny happens when a woman looks at herself, as if she can\u2019t ever not be narcissistic, flaunting the way she either measures up or doesn\u2019t to the flawless face we all carry around inside the handbag of our heads.<\/p>\n

That\u2019s inevitable, you can\u2019t unthink political realities, but it isn\u2019t exactly what\u2019s happening here. The clue, I think, is what it\u2019s like to look at these faces communally, as a chorus. They are so wildly specific, peering at you sideways, each one differently unhappy, each one concrete, present, original as in not a copy of the last. <\/p>\n

There\u2019s a poem by W.\u2009S. Graham about the death of a loved friend (the painter Bryan Wynter), and in it he says: \u201cI am up. I\u2019ve washed\u2009\/\u2009The front of my face.\u201d The pacing is absolutely that of bereavement and loss, when things are so groundless that the simple act of getting out of bed is an achievement worth recounting. I am up, if hunched and huddled, looking sidelong at my ongoing desolation.<\/p>\n

But it\u2019s the front of the face business I want to get at. The front of the face, the bit that gets looked at, as opposed to the thinking\/feeling apparatus that ticks away behind the eyes. Time moves in one direction. Unless you\u2019re Benjamin Button, you\u2019re getting older by the second. But emotional states are more like weather systems, moving in and out, and so the face is constantly changing in two ways simultaneously. A long slow look, Lucian Freud\u2013style, literally accretes time on the canvas, but Joffe\u2019s strategy of small and fast might be a better route if what you want to capture is not a permanent or solid self but rather instability, the way that moods temporarily tighten muscles or slash fresh grooves, refashioning flesh in a minute-by-minute way adjacent to but nothing like as permanent as the seismic collapses of age.<\/p>\n

Flesh is so funny. Bottom line, it\u2019s there, too too solid as Hamlet had it, and horribly revealing. The older you get the more you give yourself away; the more the you in you seeps out. At the same time flesh isn\u2019t stable at all. Cadaverous yesterday, bloated tomorrow, depending on the particular brand of sadness that\u2019s grinding you down. In the very first portrait, blue cardigan, it\u2019s a double-chin kind of day, nostrils flared, rearing back like a startled horse. Some of the faces are doleful, some reproachful, some crouch behind cheekbones sharp as chisels. Unhappiness can feel like a permanent ecosystem but the evidence of these pictures is that every day was subtly different from the last, and so at the very least thrilling to chart, meditations on an emergency in which the painter gets to play both the red-eyed catastrophe and the dispassionate, erratically tender observer, standing a little distant from herself.<\/p>\n

By the summer, Joffe had shifted operations to New York. The light was different and the faces in it look more mobile, less like masks of catatonic grief. The mood has shifted. The wind has changed. But she isn\u2019t stuck at all. Just look at the faces she made.<\/p>\n

 <\/p>\n

\"\"<\/a>

Chantal Joffe, Self-Portrait, February I<\/em>, 2018, oil on canvas, 23 5\/8″ x 19 5\/8″. \u00a9 Chantal Joffe. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Chantal Joffe, Night Self-Portrait, March I<\/em>, 2018, oil on canvas, 19 3\/4″ x 15 3\/4″. \u00a9 Chantal Joffe. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Chantal Joffe, Self-Portrait, April I<\/em>, 2018, oil on canvas, 16″ x 12 1\/8″. \u00a9 Chantal Joffe. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Installation view, \u201cChantal Joffe,\u201d Victoria Miro Mayfair, 14 St George Street, London W1S 1FE, April 11\u2013May 18, 2019. \u00a9 NS Harsha. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Chantal Joffe, Self-Portrait, June II<\/em>, 2018, oil on canvas, 15 3\/4″ x 11 7\/8″. \u00a9 Chantal Joffe. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Chantal Joffe, Self-Portrait, August IV<\/em>, 2018, oil on board, 12 1\/8″ x 9 1\/8″. \u00a9 Chantal Joffe. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Chantal Joffe, Self-Portrait, November<\/em>, 2018, oil on canvas, 14 1\/8″ x 11 1\/8″. \u00a9 Chantal Joffe. Courtesy the artist and Victoria Miro, London\/Venice.<\/p><\/div>\n

 <\/p>\n

\"\"<\/a>

Chantal Joffe, Self-Portrait, December<\/em>, 2018, oil on board, 16″ x 12 1\/8″. (CJ 1536).<\/p><\/div>\n

 <\/p>\n

Olivia Laing\u2019s most recent book is <\/em>Crudo<\/a>.<\/em><\/p>\n

Chantal Joffe: The Front of My Face<\/a> is published to accompany Joffe\u2019s exhibition at Victoria Miro, London, on view from April 11 to May 18, 2019.<\/em><\/p>\n","protected":false},"excerpt":{"rendered":"

In 2018, Chantal Joffe painted a self-portrait nearly every day. Olivia Laing takes in the chorus of faces.<\/p>\n","protected":false},"author":1584,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[52376,1050,52378,17802,8515,4154,227,52377],"class_list":["post-135387","post","type-post","status-publish","format-standard","hentry","category-look","tag-chantal-joffe","tag-london","tag-oil-painting","tag-olivia-laing","tag-paint","tag-paintings","tag-self-portrait","tag-victoria-miro"],"acf":[],"yoast_head":"\nChantal Joffe\u2019s Many Faces by Olivia Laing<\/title>\n<meta name=\"description\" content=\"In 2018, Chantal Joffe painted a self-portrait nearly every day. 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