From the 1950s housewife to contemporary dating and the difficulties of being a modern woman in the workforce, Rubell’s four pieces – , an industrial-quality vacuum cleaner placed next to a polished pair of red patent-leather heels fitted atop a heavy square platform.The glaring absence of the female form (the immediate assumption being that the empty space is, in fact, female), registers instantaneously.Valentine’s Day is approaching and love is in the air.For Bianca Villani, though, preoccupation with love is not seasonal.
However, because Rubell empties out that visual space, the viewer subconsciously fills it with her own form, which in return highlights the falsity and psychological dangers inherent in such mediating feminine perfection.
The effect is an invitation for the viewer to come closer, to slip on the heels, to grip the vacuum and fill that empty space.
Although no apron or string of pearls is provided, the associations Rubell creates resonate with clarity.
" or "What do you do when you live hundreds of miles from your family?
"The goal of this series of articles, beginning with this introduction, is to provide our readers with a place to bring those questions.