Working in various mediums, Bacher utilizes technical flaws in her tools for their expressive potential, such as the stutter step of a faltering video camera used here to follow a teenage visitor to the Picasso Museum in Paris. The fractured and unstable space through which the artist’s quarry—who could be a slightly younger, reincarnated version of one of the Spanish master’s own models-turned-sexual conquests-turned-muses—is tracked dizzily is not unrelated to Picasso’s own Cubist quest for visual possession of the female form.
