Anica Shpilberg's works weave faithful images with copies, abolishing all sense of reality. Human-like beings are shown in a hyper-real environment as clones in an absolute construction of simulacra in which reality fuses with the copy of the real. These "beings" converge to artifice and simulation, in line with Jean Baudrillard's terms in which artifice has substituted reality, and it is the subversion of the real.
In Shpilberg's digital photographs the mannequins are prosthetic and iconic references for femininity. In their suggestive sensual poses and moody expressions they act as clones in the threshold of humanity. Fashion models and nudes create a synergic representation of the world of women. In their outermost inner intensity, these clones show seductive and sensual poses, introspective faces, sad expressions and exalted emotions as mimesis of the feminine cosmos. They stage an inverted realism in which the viewer is confronted by an ambiguous realm of perception. Is it a dummy? Is it a model?
In their carnal nudity and their fleshy skin they connote the feminine body. In their inner force and their compelling humanity they impose the mighty spirit of women.
Milagros Bello, Ph.D