Object Story
Twenty years ago, through a series of wonderfully fortunate events, I found myself on a film set for the first time. I had been playing with brushes since childhood, first on paper, then on my grandmother’s face, mine, and dolls’. I remember not understanding much, but everything fascinated me: the adults (I was 16), the actors, the crew, the locations, but especially that metal temple. Every time it opened, revealing all its wonders, I was left speechless. One day, because the shoot extended into the late hours, we had to decide whether to stay overnight on set. The makeup artist I was assisting chose to go home, allowing me to do something I would have never done under different circumstances: to open and rummage through the makeup kit. I waited a while to make sure she had really left, and then the madness began: lipsticks, pencils, eyeshadows, one by one, every item in the kit was examined, admired, adored! It was Heaven! That kit was Heaven! The next day, I had a sparkle and a smile on my face until the end. And now, when I open that “inheritance” kit, I still have the same smile and the same fascination, and, in addition, love for this profession, love for this magical world of adults, actors, and stories!
Andreea Popescu, make up artist
The makeup set is the third 3-D object I have selected. Again we see a sturdy object which is designed to be lugged around and withstand bashes and bumps. It is of itself not at all ephemeral. But what it contains is a set of magic wands which can completely alter a character’s appearance. Makeup is fascinating for its playful relationship to transformation, on and off camera. It liberates us to play with identity, a key theme in cinema. One could argue that the skill of the artist is to conceal the craft in service of the story and this is particularly true of make-up – we usually don’t want to see the cracks. Like the Luminous Work Table this box represents dedication to the art which seeks no glory. The skills of the makeup artist are rarely seen. She works the long hours for the sake of her craft and pleasure in her skill in it – Mary Kate O’Flanagan, curator