I'm also a fan of Tina Modotti, especially her earlier, less overtly political work (though some of that is pleasing too, especially on the level of abstract). She had an extraordinary eye for the abstract beauty of the everyday, whether telegraph wires, or seats in a stadium or parts of people's bodies. She seems very modern in that regard. It's true that she learnt from Weston initially and she was his pupil, but I think at last she is being seen as far greater than this; initially her reputation was as his pupil (and lover of course) and as someone who met a dubious fate in a taxi, but I think her true greatness is now realised - Weston learnt from her aswell, and I have to say her original prints are simply stunning (exhibited in London recently). For her everyday objects stand by themselves, she celebrates their 'itness'; they don't need to be anything else (like a woman's form). I like that.
For me the puppeteer's hands work on different levels - the simple beauty of (ageing) hands, and the craft they are capable of: I don't see chaos, certainly not ineptness, but a careful control - a balance of tension and looseness. The hands hold the strings, loosely but with precise care, the fingers control absolutely the taut strings below which will in turn control the movements of the puppet. Although the hands are not old, they are 'mature' - strong and powerful but capable of delicacy also. The strings echo the lines of the veins in the hands. The shadows work well.
Very simple - but quite deep, and quite beautiful aswell.
Cate
